■
,■•■.. ■
I
If'/l
■
■
*l ■ :
I
tfMH Hi
■ ■ , ■
■u
I I
■
■
■
ilifiijl H
1
MM
■ ■ ■ ..
n
m^nft
MOT
LIBRARVf
THE MU - u vi
OF MO."
]
Scanned from the collection of
The Museum of Modern Art Library
Coordinated by the
Media History Digital Library
www.mediahistoryproject.org
»
»
A
JANUARY
HOLLYWOOD'S UNMARRIED HUSBANDS
Four Pages of Hilarious Star Caricatures by V
MHaiWies 6u ELEANOR tOOSEVELT • LOUIS SJBOl
--ncilA PALMS'
WOMEN'S CONSUMER JURY
c U\/\ ABOUT LUSTER-FOAM
II brand names concealed, a large Women's
I imer 1 ur \ voted as follows: Against one leading
brand, the \i Vt Tooth Paste with Luster-
i o to one favorite. Against the next two,
ii .1 favorite. Afi linsi a fourth, a very slight edge.
The verdict of the men's consumer jui . ntiaJly
the Munc uith the exception thai the fourth paste re-
: the women's results slightly. The comments
above are i
New Listerine Tooth Paste with amazing
Luster-Foam "Bubble Bath" cleanses teeth
new, thrilling way . . . more penetrating . . .
more thorough . . . millions choose it
You simply can't imagine how clean your teeth can
be . . . how brilliantly they gleam . . . until you have
used the New Listerine Tooth Paste, energized by
Luster-Foam.
Luster-Foam detergent is an outstanding contri-
bution to dental care . . . the energetic foe of decay.
It is not a soap, yet lias far more penetrating power
than soap. It is not a powder, yet has powder's
effecth eness.
A tooth paste especially created to thoroughly
cleanse the countless tiny pits, cracks, and fissures
on the teeth . . . the "blind spots" between the teeth
and at the gum line so Frequently neglected in the
past. Muse are the anas to which dull him clings,
where germs breed, fermenting acids form, and
where many authorities estimate between 75', o and
i if all decay starts.
Into some of these an as. ordinary dentifrices and
even water seldom enter. Bui Luster-Foam enters
them . . . especially created to do that very job.
Tiny pits, cracks and fissures are the breeding spots of decay.
A study of 12,753 persons showed that 82.3°o of all decay starts
in the molars and bicuspids. The remaining 17.7% in all the
other teeth. listerine Tooth Paste containing Luster-Foam was
created t<> reach these decay breeding areas.
That lively, aromatic Luster-Foam "bubble hath"
(20,000 bubbles to the square inch) starts perform-
ing a miracle the moment brush and saliva set it oft.
Dull him is whisked away. Food accumulations
come oft like magic. Dangerous decay acids are
combated. Millions of decay germs are removed.
^ on scarcely feel this going on — all you know is
that your mouth feels wonderfully alive and fresh,
and remains that way for hours afterward.
Get the new Listerine Tooth Paste with Luster-
Foam detergent, right now! It will bring you a
new conception of health and beauty. At all drug
counters, in two sizes: Regular 25^, and Big Double-
Si ze containing more than '.> lb. of toothpaste for
4UC — by all odds your best buy.
Lambert Pharmacal Company, St. Louis, Mo.
THE
LISTERINE TOOTH PASTE
$\ supercharged with x
LUSTER-FOAM
^
I
„ wear, BettY v
•■ furious Seal Dje Q yack
and sash, WockWp pQUch
i -edefbTack ode 9loves. BeHY
Soon* **■- _
advertisement
JANUARY, 1939
IVatch for a Merry -Goldwyn- Mayer
"hristmas!
I'm feeling merry already, because I've
bt an Xmas gift that warms this old
lingle heart.
I's a studio-full of letters from you and
i and you (thanks to each of you) tell-
me you liked my personal column in
t month's magazines and you want me
| continue. Okay fans!
• • • •
.., here's real news!
.temember my Christmas picture a few
ars ago— Charles Dickens'" David Cop-
rfield" (who could forget?) . . .
BBS
^"£'
-^"t,W
l'll see another heart-warming Charles
"kens story soon. M-G-M's "A
[RISTMAS CAROL" comes at the
fcday season, and its message of "peace
J earth, good will to men" so sorely
Ided in these times will strike you as
Ither fine job by the producers of
Vs Town." -
|i pre-Christmas gift, dancing. Joan
/ford will show you that she's learned
new steps as the dancing bride in
E SHINING HOUR." Plenty of
hers for Joan, among them Margaret
Ivan, Robert Young, Melvyn Doug-
|Fay Bainter. Quite a cast, folks,
a picture, too!
• * * *
lertainly started the festive season
IThe Al 1 - American rage now is* ' OUT
IT WITH THE HARDYS", latest
Iment from your favorite screen
Mickey Rooney, Lewis Stone
jill the folks are fine, thank you!
• • • •
'1! remember December" is a good
for M-G-M . . . and the New Year
kff to a happy start as those gay
Is of love songs, Jeanette MacDon-
ld Nelson Eddy bring us their first
In musical, "SWEETHEARTS"
Technicolor, too!
• * • •
I said Christmas comes but once
h
l'll get a holiday package on the screen
leek of 1939 from etf
anta Claus —
1
A
eo-
PHOTOPLAY
T4T
°r MOTION ^
^
ERNEST V. HEYN
EXECUTIVE EDITOR
HEYWORTH CAMPBELL
ART EDITOR
RUTH WATERBURY
EDITOR
On the Cover — Hedy Lamarr, Natural Color Photograph by George Hurrell
Shirley Temple's Last Letter to Santa Drawing by Vincentini 9
This is probably the last Christmas she will write to him
Film Folk I Have Known Eleanor Roosevelt 10
A distinguished lady talks about picture people she has met
Romantic Recluse Gladys Hall 12
The private life of a public hero — Ronald Colman
This Year's Love Market — Its Highs and Lows .... Gretta Palmer 14
A graphic record of Hollywood romances, marriages and divorces
Mama Is in the Movies Now Louis Sobol 16
A famous columnist discovers a real Cinderella — Ellen Drew
It Pays to Be Tough Ida Zeitlin 17
HIGHLIGHTS Introducing John Garfield — a bright new luminary
t ii ...... Mother Goose Goes Hollywood Walt Disney 18
OF THIS ISSUE Four pages of delightful caricatures from Walt Disney's new film
Hollywood's Unmarried Husbands and Wives .... Kirtley Baskette 22
Domesticity takes on a unique form in this unconventional fold
Civilizing Sabu of India Katharine Roberts 24
The story of a jungle child in a modem world
Photop'ay Fashions Gwenn Walters 49
Carole Lombard opens the pages of our 1939 fashion section
Whar Hollywood Is Thinking Marian Rhea 59
The second in a series of revealing answers to pertinent questions
Corrigan Lands in Hollywood Edward Doherty 60
"Wrong-Way" Doug discovers all roads lead to filmtown
Lindbergh's Movie Contract Major Thomas G. Lanphier 61
A fascinating untold story of America's great hero
. The Case of the Hollywood Scandal Erie Stanley Gardner 62
A thrilling mystery reaches a climax of revenge and romance
The Camera Speaks: —
"Who's Behind the Glasses? 26
The "eyes" have it in Photoplay's opt ical guessing game
Gay Blades 30
Young Hollywood has fun at the Ice Follies
Favorite Stories of Famous Children Dixie Willson 32
^4 E W S A bouquet from a famous author's new book
They Haven't Changed a Bit 36
VIEWS AND Here's proof in these rare old pictures of a few modern stars
Khyber Pass, California 38
REVIEWS Kipling's "Gunga Din' comes to the screen
Close Ups and Long Shots Ruth Waterbury 4
Brief Reviews of Current Pictures 6
Cal York's Gossip of Hollywood 41
The Shadow Stage 44
We Cover the Studios Jack Wade 46
Choose the Best Picture of 1938 64
PHOTOPLAY'S Own Beauty Shop Carolyn Van Wyck 66
Boos and Bouquets 68
How Well Do You Know Your Hollywood? 69
Movies in Your Home • • • • • • • • 70
A new department for amateur movie-camera enthusiasts
Close Ups of Hollywood Designers 72
■ Complete Casts of Pictures Reviewed in This Issue 87
VOL LIU., No. 1, JANUARY, 1939
Published Monthly by Macfadden Publications, Inc., 333 N. Michigan Ave., Chicago, 111. • Bernan Macfadden, President • Irene T. Kennedy,
Treasurer • Wesley F. Pape, Secretary • General Offices, 205 East 42nd St., New York, N. Y. • Editorial and Advertising Offices, Chanin
Building, 122 East 42nd St., New York, N. Y., Curtis Harrison, Advertising Manager • Charles H. Shattuck, Manager, Chicago Office • London Agents,
Macfadden Magazines, Ltd., 30 Bouverie St., London, E. C. 4 • Trade Distributors Atlas Publishing Company, 18 Bride Lane, London, E. C. 4 • Yearly
Subscription: $2.50 in the United Slates, $3.00 in U. S. Possessions and Territories, also Cuba, Mexico, Haiti, Dominican Republic, Spain and Pos-
sessions, and Central and South American countries excepting British Honduras, British, Dutch and French Guiana. $2 50 in Canada and Newfound-
land. All other countries $5 00. Remittances should be made by check, or postal or express money order • CAUTION — Do not subscribe through
persons unknown to you • While manuscripts, photographs and drawings are submitted al the owners' risk, every effort will be made by this organ-
ization to return those found unavailable if accompanied by sufficient 1st class postage, and explicit name and address. But we will not be responsible
for any losses of such matter. Entered as second-class matter April 24, 1912, at the post office at Chicago, 111., under the act of March 3, 1879.
Copyright, 1938, by Macfadden Publications, Inc. Registro Nacional de la Propiedad IntelectuaL
PICTURES REVIEWED IN
SHADOW STAGE
THIS ISSUE
MMHJ WITH DIRTY FACO-W
ARTISTS AND MODELS ABROAD-NrMHMt 44
BLONDIE
BROTHER RAT-W
CITADEL, THE-MG-M
FIVE OF A KIND— Zfth Cwtary-Fn
6RAN0 IUUSION-WtrH
•MAT WALTZ, THE-M8-M
HARD TO GET-Warngn ......
DC STONY-MBi Cesrtury-Fii . .
JUST AROUND THE CORMER-20* Cantwy-
fm
LISTEN, DARLINO M-4I-M
MAO MISS MANTON, THE-RKO-Rjdta
MEN WITH WINOf Pa— 1
SERVICE OE LUXE-IMmtmI
STORM, THE-IMvwmI . .
SURMARINE PATROL-2M Cartwy-Fu
C*ntary-F«i
SWEETHEARTS-M-Q-M ....
YOUNO DR. KILOARE M-O-M ....
YOUNO IN HEART, THE-S*nkk-UnRrt Arttats 45
E WS
Com&mii Thin Mm ir Shopping
1> a i il v it n it S ii r i> lour T i m v .
M n n r u and IH # p o tt i I i o n
• INDICATES PICTURE WAS ONE
OF THE BEST OF THE MONTH
WHEN REVIEWED
AFFAIRS OF ANNABEL, THE-RKO-Radio
it Itself with Jack Oakie
n the humor) playing
Ruth Donnelly and Fritz
1 ignly amusing. (Oct.)
ALWAYS IN TROUBLE-20th Century-Fox
n deeper
rich overnight and can't
n .m island with smugglers,
nd brinns her family
back to earth
* ARKANSAS TRAVELER, THE-Paramount
of an itinerant
• n more
■ ic widow whose newspapei Bun
■
ARMY GIRL-Repubhc
Lhc title of I.
in khaki at a
r, Neil Hamilton ami
nel) H. B. Warner
BAREFOOT BOY-Monogram
• * to this 'I
dialogue
til laugh
■ and do
BLOCK HEAOS-Hal Roaeh-M-GM
■ twenty
1 1 mmediately on.
• BOY MEETS GIRL-Warners
wma plug I • on, Holly* ppy and
"
by of a
dumh ■ huild U|> r. The
• BOYS TOWN-M-G-M
ling of ■ model rommir
the triumph ol , m Providence and
human natur , brilliant interpretation of
Falher Flanagan and Mickey Rooney runs a close second as the
incorrigible Whtiey. Hollywood should be proud of such a picture.
BREAKING THE ICE-Principal-RKO-Radio
It helps tremendously to have five-year-old figure-skater Irene
Dare make her screen debut in this latest of Bobby Breen-
piclures. Bobby, at this point a Mennonite, runs away from the
colony, join< an ice-skating troupe. Dolores Costello is nicely sac-
charine aa B
CAMPUS CONFESSIONS-Paramount
Hetty Grable, Eleanore Whitney and Bill Henry, perennial col-
lege seniors, scamper around, but the plot centers about Hank
Luisetti. basketball st.,r. who proves that athletics belong in any
college curriculum.
• CAREFREE-RKO-Radio
The team of Rogers and Astaire is back, as light on their collective
ver Fred ie llyst, Ginger is his patient. Over
all their antics, and the best dance routines the couple has ever
invented, -o.,r (he lovely lilting melodies of Irving Berlin's latest
wmg- Guaranteed to put you in a gay mood. (.Nov.)
CHASER, THE-M-G-M
A -wilt minor comedy based on the ambulance-chasing racket,
rdid plot but the situations are so funny you'll laugh
anyway. Dennis 0 Keef e is the shyster, Lewis Stone his drunken
stooge doctor; John Qualen, Nat Pendleton and Ann Morris sup-
port.
• CROWD ROARS, THE M-G-M
Well. kuls. i : Taylor comes through — a champion —
in this lu-ty tale of the prize ring which surrounds him with crooked
managers, a drunken nk Morgan), who sells him down
r, and Maureen o Sullivan for whi finally gives up
■ r. Darned line. (Oct.)
DESPERATE ADVENTURE, A-Republic
There- a lot of fuss made when Man. in Marsh turns up in Paris
the image of the "ideal girl'' painted by Ramon Novarro.
The picture is sold by mi-take ami everyone light- to get it back.
Margaret Tali N'ovarro is as sincere
Don't break your neck.
• DOWN ON THE FARM-20th Century-Fox
Having attained the run. \ rating, the Jonrs Family
continue the attempt to catch Am
admirably. The family's divertissements on Aunt Ida's farm are
enlivened by a cornhualdng, an election and various country
that should amuse voii no end. i 1 usual.)
• DRUMS-Korda-United Artists
An smilingly dramatic Story of a Briti-n regiment .,n the North-
the utile Indian rajah whose friendship
foi England. Raymond
d fester, Valerie Hobson are all
nal. (Oct.)
ir FOUR DAUGHTERS-Warners
In Fai ting, dramatic story of the four l.rmp
ii Ii for roDD born John Garfield,
whose i Aim marries I
high -i».t of the year; 1 e finest work
Srey Lynn, who I emph Itcally a "discovery."
Important, (i)a.)
Roland Young and Connie Bennett,
mad zanies of "Topper" -fame, find
that etherealism and jail don't jibe in
Roach's sequel, "Topper Takes a Trip"
• FOUR'S A CROWD-Warners
Errol Flynn emerges from his romantic cocoon to turn into a fine
comedian (hoo-ray) a? a press-relations counsel, whitewashing
! Russell is a top-flight newspaper woman on
Pat Knowles' paper; Olivia dc Havilland is a RiRKly daughter of
Wall Streeter Walter Connolly. You'll find out who loves whom
and. in the interim, you'll find crack entertainment. {Oct.)
FRESHMAN YEAR-Universal
This college film has an unusual twist — no football game! ln-
t deals with a student group who institute "flunk in-
surance,'' put on a show in order to pay off. Dixie Dunbar i- the
chorus-girl co-ed. William Lundigan. the freshie leader. Ernest
Truex is good as the professor who goes jitterbug. (.Nov.)
FUGITIVE FOR A NIGHT-RKO-Radio
Defini r aimed at the weaker half of a double bill, this rises
no higher than its aims. The story deals with a Hollywood stooge,
Krank Albertson. who becomes embroiled in a murder, escape- with
i his love, Eleanor Lynn. Not much here to cheer over. (Nov.)
GARDEN OF THE MOON-Warners
The real Garden is the famous Cocoanut Grove at the Ambas-
sador Hotel in Los Angeles, but the resemblance between that
-upper room and this picture is slight. It involves Pat O'Brien as the
hard-boiled manager and John Payne as the bandleader whose love
for Margaret I pilates many a battle. Good comedy,
goiid in Oct.)
GATEWAY-20th Century-Fox
Starting out as a sincere portrait of various types of immigrants
who land in New York, thi ked into a shipboard hash
someplace. Arleen Whelm is the Uriah lass traveling to America,
Don Aniiche is ,t war correspondent, Binnie Barnes, a grass widow
and Gregory Ratoff, a phoney Russian prince. They do get to Ellis
Island, though! «)</.)
GIRLS ON PROBATION-Warners
The lives of two girls. Jane Bryan and Sheila Bromley, run a
ight road, the other the primrose
path, yet both land in prison. Attorney Ronald Reagan finally
unravel- the web in which Ins sweetie becomes entangled. Human
Vol'.)
GIRLS' SCHOOL-Columbia
A disappointingly heavy I girl (Anne Shirley)
in a rich snobbish school. Nan (»r Noah Beery, Jr.,
the sympathetic plumber, Kenneth Howell the poet. Something
slipped here.
• GIVE ME A SAILOR-Paramount
Martha Rave - first film as a glamour girl turns out to be very
hilarious ilu- funnil ng Martha's efforts with a mud
She I- not getting away from -Lipstick very fast. She loves
Jack Whiting, but Jack loves Betty Grable, and Bob Hope loves
Martha. They all gel so mi I
{( onlimud on page 88)
PH OTOPLAY
HLET THERE BE A GREAT LAND, BRAVE
WOMEN-ANB BOLD MEN TO GUARD THEM!"
From the rocky cliffs of Newfoundland to the western slopes of the Yukon
— sweeps a wild-hearted empire of rushing rivers, plains and tow-
ering peaks. Guarding this vast dominion — a handful of red-
coated heroes maintain their tradition, "Get
your man!". . . Now, for the first time, the
epic story of the Royal Canadian Mounted is
told in living colors . . . told in the beat of
love-torn hearts and glory of brave rash deeds!
TECHNI
COLOR
"UftT
With a big cast
Directed by LEWIS SEILER
Screen Play by Lee Katz and
Vincent Sherman • Based on
a Novel by William Byron
Mowery • A First Nat'l Picture
JAN UARY, 1939
&0
ENTER
EVENING, 1939
a beguiling mode,
rich in silver
Evening, 1939, sweeps in with
trailing velvet . . . head regally
high . . . hair sleekly "upped"
. . . shoulders and arms
gleaming with silver
. . . Federal Silver Fox. Federal is
the perfect complement
to the new after- dark mode.
Beautifully frosted and thickly,
silkily furred, it dramatizes
your costumes.
And the name, stamped on
the leather side of the pelt,
insures lasting loveliness.
Insist upon Federal Fox; it is
featured by smart stores,
everywhere.
FEDERAL SILVER FOXES * HAMBURG, WISCONSIN
PH CTOPLAY
SHIRLEY TEMPLE'S LAST LETTER TO SANT
-w
DEAR SANTA:
Every year I write you a letter and on
every Christmas you've always remem-
bered what I ask for. I know it's not nice to ask
for things but I've decided that telling you what
I want might save you a lot of trouble. So this
is a sort of shopping list and if you have time to
get around to me after taking care of all the
other little girls I'll be very glad if you take this
list along.
But there is something I have to explain first.
It is about last year. I didn't mean to play a
trick on you. I just wanted to see you, Santa.
Just once. That's why I put the bell on the toe
of my stocking and hung it by my bed (instead
of the usual place on the mantel) so I'd be sure
to hear it. But I didn't. You filled it without
ever making a sound— with those candy nuts I
love so, and little glass figures for my collectchun
and the small silver tea set. Remember?
And maybe I'd better explain about that
stocking too. Mine isn't very big. Sonny and
Mrs
. TEMPLE sj\- that Shir!'
"on
the
ctliie
in her belief
in >anta.
Th
is is probablv
the last Christma.-
will
ever
write to him am] we are proud to
present
her 1
^tter. Ue sincerely hope he'll bring
her
ever)
thing she a.-k.-
for. . . .
-
ILLUSTRATION BY VINCENTINI
Jack (they are my brothers) only wear socks
but they hold more. So I told a friend of moth-
er's and she made me that glazed chintz stock-
ing two feet long. I hope you don't mind be-
cause I'd like to use it again this year.
WHAT I want more than anything. Santa (even
more than a double-folding sleeping bag and one
of those jiffy tents) is another Jimmy. O I
know it will be hard to find and you will have
to look all over because Jimmy was the dearest
baby doll in the world. He went to Honolulu
with me and he was so good. But on th-
we took last summer I left my Jimmy sitting in
the car right in the sun when we went to the
Grand Canyon. I never should a done that
because my dad locked the car and it got pretty
hot. When we came back Jimmy's cheeks were
cracked The paint had run onto his little
rompers and when I picked him up his lashes
fell out. I just could nut help crying. My dad
sent him back to the doll hospital in H liywood
but they couldn't fix him. When I got h
buried my Jimmy in our backyard and
Lou Isleib (she is my best friend and stand-in)
(Continued on page 86)
Sec. Claude A. Swanson
Louis d. Mayer
Elliott Roosevelt Marie Dressier
*+ +
vl
'P\
Hurt*
America's most distinguished lady
brings you an intimate glimpse
of the picture people she has met
SOMEWHERE in a paper not long ago I saw
the following question: Arc actors and
actresses the same in real life as they are
on the stage?" It set me thinking, for, in the
course of my life, I have known a good many
artists of one kind or another — actors, actresses,
musicians, dancers, painters, writers — all akin
in the love they have for their art.
They spend their lives trying to give the world
pleasure through this art. As far as actors and
actresses are concerned, whether on the stage or
in the movies, I doubt if any of them would like
us tc, think that they were the same on the stage
as off. Success, in their profession, requires that
they create for us the illusion that they really
are the characters which they portray and that
those characters are alive and playing a part in
real life for the time that we follow them on the
stage.
Those whom I have known off the stage, how-
ever, frequently carry into their real lives some-
thing that is reminiscent of their stage tech-
nique. Others are so entirely different that you
can hardly see any resemblance to the person
you saw in such and such a part last winter, or
in some picture last night.
The first great actress I ever met was Eleonora
Duse. While the others talked, I stood shyly
and devoured her with my eyes. She was the
most beautiful and fascinating-looking creature
. . . but I must stop talking about the past and
tell you a little about some of my acquaintances
in the movies who can be called contemporaries.
JEAN DIXON, of course, is a friend of some
years standing, a charming, cultured woman
who speaks French like a native, is a great
reader and who has had the great advantage
as a youngster of working for a while with
Sarah Bernhardt. These memories she cher-
ishes, as I cherish having seen the same great
actress playing in "L'Aiglon" when I was in
Paris as a schoolgirl.
Three years ago, I began to meet some of the
very young Hollywood stars who were kind
enough to come to Washington to appear at the
various Birthday Balls given on the night of my
husband's birthday.
The first year, Ginger Rogers stands out as a
charming personality; the next year there were
more and I saw them at lunch. They were Mr.
Robert Taylor, Miss Marsha Hunt, Miss Maria
Gambarelli, Miss Mitzi Green, Mr. Frederick
Jagel and Miss Jean Harlow.
First these guests were taken to greet my
husband in his study; then we ate in the state
dining room. I confess I asked them, with some
trepidation, if they would like to see more of
the White House, wondering how much they
would care for historic interests. Jean Harlow
and Robert Taylor seemed to be considered first
place by the others, but they all expressed a
keen desire to see all there was to be seen.
We went through the White House from gar-
ret to cellar and over to the executive offices as
well. The colored staff was agog with excite-
ment and, on the third floor, Robert Taylor was
held up and begged for his autograph, which he
very generously gave. This only happened to
him, however, because he lagged behind and I
was not there to protect him.
I THINK I must also tell you that Marie Dress-
ier, when she spent a night with us, was told by
her maid how great was the interest of the staff
below stairs in her visit.
Before she started out with the President and
me in the morning to help unveil a monument,
10
Admiral T. J. Senn
Mayor Frank Shaw
Two former White House visitors who
honored Secretary of the Navy Claude
A. Swanson at an M-G-M luncheon are
gone — Will Rogers and Marie Dressier
she spent an hour in the kitchen, greeting
everybody and signing autographs for them
with that friendly manner no one else ever quite
has been able to imitate.
Marie Dressier is gone and so is little Jean
Harlow, but I will never forget the letters both
of them wrote me, so filled were they with ap-
preciation of what the White House means to
American citizens. Perhaps an actress has to be
a little more sensitive to atmosphere than the
average person, but true it is that these two
expressed it as few of our guests have done.
Looking at little Mitzi Green across the table,
it was hard to realize that she was only sixteen
and on her way to musical-comedy success in
New York. One little incident I shall always
remember. As we came into my husband's of-
fice, one of the girls said: "I wish we had told
the President how glad we are to be here. Let's
sit in his chair and leave him a message."
They wrote the message and one by one all of
them, girls and boys alike, sat in his chair and
signed it.
I HIS past January, another group was with us
and this time most of my children were at home,
so they had plenty of young people to entertain
them. At lunch with me were Miss Patricia
Bowman, Mr. Joe E. Brown, Miss Louise Fa-
zenda, Miss Maria Gambarelli, Miss Janet Gay-
nor, Miss Ann Gillis (the ten-year-old star),
Mr. Glen Gray, Mr. Richmond B. Keech, Mr.
Tommy Kelly (aged twelve), Mr. Anthony Lab-
riola, Mr. and Mrs. Fredric March, Mr. Ken
Murray and Miss Eleanor Powell.
Pretty Eleanor Powell made two
of my daughters-in-law extremely
jealous, or so they pretended, and
I noticed that my boys were ex-
tremely anxious to act as guides
through the White House. They
usually hang back when any such
suggestion is made.
They all returned, after their
tour through the House, to my sit-
ting room, Franklin, Junior, re-
marking, '"We think perhaps you
(Continued on page 83)
Among those stars who lunched
at the White House with Mrs.
Roosevelt before the Presi-
dent's Birthday Ball last year
were (back row) Joe E. Brown,
Eleanor Powell, Fredric March,
Ray Bolger; (front row) Ann
Gillis, Tommy Kelly, Maria
Gambarelli and Janet Gaynor
Shirley Temple won the heart of
Mrs. Roosevelt, but the test came
when she met Sistie and Buzzie
Photoplay turns back the Holly-
wood calendar to bring you the
marital mergers and tangles, the
Blessed and not-so-Blessed Events
in a bulletin that's town talk
BY GRETTA PALMER
September, 1937: Saw the birth of a new Photo-
play The following months have brought rec-
ord-breaking events. So the editors mark the
close of its first fiscal year with these hilariously
vital statistics. Romance opened strong, with
marriage quotations giving the market a bullish
trend. Announcement of the marriage of Mir-
iam Hopkins to Director Anatole Litvak, early
in the month, marked the beginning of the broad
upswing. Cupid Common soared when Alice
Faye and Tony Martin were wed. Other issues
responded: Luise Rainer, in a statement, as-
sailed bears who sold short her marriage to
Clifford Odets, the playwright. The Tyrone
Power-Loretta Young interests were reported
firm, although a nervous tone prevailed over the
Tyrone Power-Sonja Henie collaboration.
Stork rallied with the new Gary Cooper-
Veronica Balfe issue.
October: Marriage held firm, in spite of bearish
interest in the Clark Gable menage, with ru-
mored participation by Carole Lombard. Hearts
advanced when Francis Lederer wed Margo,
showing strong foreign interests in the Domestic
Hearts' market.
Rumors of a rise in Garbo-Stokowski, for-
merly unlisted, were denied by the company in-
volved.
The Virginia Bruce-David Niven romance
sagged. Conflicting rumors on the Robert Tay-
lor-Barbara Stanwyck amalgamation confused
observers.
November: Romances soared, with a firm under-
tone of wedding bells. The market for the
month closed strong. Jackie Coogan's marriage
to Betty Grable, Betty Furness' to orchestra
leader Johnny Green and Alan Curtis' to Pris-
cilla Lawson were pivotal points in the latter
half of the session.
Public participation was marked. Traders
and usually authoritative sources rumored new
listings and the gossip tape lagged behind
events. The new Tyrone Power consolidation
mentioned Janet Gaynor. The Ginger Rogers-
Playwright Robert Riskin deal attracted atten-
tion. Carole Lombard and Clark Gable were
bracketed for a sharp rally. Robert Taylor's
European interests included Barbara Stanwyck,
according to London and domestic tipsters.
December: Matrimonial shares reached year's
high when Virginia Bruce and Director J. Wal-
ter Ruben brought out a new and eagerly re-
ed debenture. The Hearts' Ex-
change reflected sentiment.
Continued upswing raised Romance averages
to new highs on the year's movement. Early in
the month several matrimonial issues were re-
tired: Leopold Slokowski changed his listing
and tape symbol from Husband to Divorce.
THIS YEAR'S
ILLUSTRATION BY JOANNE ADAMS
Gloria Holden released her holdings in Harold
Winston. There was profit-taking in Stork Pre-
ferred by the firm of Henry Fonda and Wife.
Garbo denied plans for a Stokowski merger.
Well-informed observers reflected coldness
towards Lupe Velez-Weissmuller shares. Nerv-
ousness was expressed by the tape on the Clark
Gable -Lombard company shares.
A broadly bullish tone prevailed, with Cary
Grant-Phyllis Brooks and Loretta Young-Joe
Mankiewicz moving briskly.
January, 1938: The New Year's Marriage Market
opened sluggish, with little support. The Stan
Laurel wedding on the opening day was bullish,
but general nervousness prevailed. Volatile
issues, such as Robert Taylor-Barbara Stan-
wyck, remained unchanged. The Lili Damita-
Errol Flynn romance encountered resistance.
The Stork Market showed an improved tech-
nical position. Stork Preferred announced four
new listings when sons were born to Allan
Jones, Bela Lugosi, Arline Judge and Bing
Crosby. A daughter born to Claude Rains made
this the outstanding month for stockholders in
the Baby Commodity Market.
February: The Hearts' Exchange opened with
little volume and scant outside participation.
Traders were inclined to be bearish and Ro-
mance moved sluggishly. Certain observers
profited on the downside with the announce-
ment of Fay Wray's separation from the writer,
John Monk Saunders, and Walter Wanger's di-
vorce from Justine Johnstone.
Valentine Common sagged sharply, in the
dullest session of the year. News of Stokowski's
sailing to join Garbo brought only a faint re-
sponse.
March: The month opened with a bulge in
Love, but Matrimony attracted few bidders.
The Kay Francis engagement to Baron Eric
Barnekow brought some public participation.
Babies were bullish, with Bob Burns' new son
attracting interest.
The Stokowski-Garbo issue moved sidewise,
with conflicting rumors arousing uneasiness
among gossip-brokers. The Tyrone Power-
Janet Gaynor bond remained firm. Hands-
Holding received some support from the in-
creased activities of the A. C. Blumenthal and
June Lang interests.
14
.OVE MARKET
Its Highs and Lows
April: Romance continued to lag, with many
shares striking the low for the year on the
Hearts' Exchange. Gossip-brokers were reluc-
tant to take a position and the specialists' book
showed few offerings. The tape reported bear-
ish developments in Marriage Preferred when
Herbert Marshall, handsome star, was sued by
Eddy Brandt for alienating the affections of Mrs.
Brandt (Lee Russell).
Eternal Triangle responded with a brief flurry
of interest, but the Love market remained dis-
appointingly stagnant for the session as a whole.
Infant Commodities attracted interest with
the birth of a daughter to Doris Warner and
M-G-M producer Mervyn LeRoy.
May: The Hearts' Exchange continued its re-
cent listless tone, with few offerings. Shorts
were vindicated when Luise Rainer and play-
wright Clifford Odets announced their separa-
tion early in the session.
Hearts advanced on a narrow front with the
rumor of a rise in Melting Glances, Inc., spon-
sored by the strong Joan Fontaine and Conrad
Nagel interests.
Slight gains were reported at the Fox lot, with
Sonja Henie and Richard Greene said to be par-
ticipating in Beating Hearts Preferred. Usually
reliable sources did not authenticate the rumor
that large interests were watching this issue.
June: Hearts advanced with a sharp rise and
shorts scurrying to cover their positions. Love
encountered little resistance in the almost per-
pendicular return.
All matrimonial issues shared in the most
rapid upturn in months.
Leaders in the Matrimonial advance were
Lily Pons-Andre Kostelanetz Nuptials, Frances
Langford-Jon Hall Elopement, Inc., Gloria Dick-
son-Perc Westmore Knot, Cecilia Parker-Dick
Baldwin Wedding- Bells, Virginia Walker-Wil-
liam Hawks Bridal Shares and Russell Gleason-
Cynthia Hobart Honeymooner.
The strength of the movement was reflected
among the Rumors, where Richard Greene was
claimed on behalf of three important sharehold-
ers: Arleen Whelan, Loretta Young, Sonja
Henie.
Bidding for the favors of the young British
star sent his stock soaring to remarkable new
highs for the year.
July: The Hearts' Exchange held its gains this
month, in spite of a rapid turnover as reflected
in the Franchot Tone and Richard Arlen sep-
aration reports. The latter was unexpected
and caused gloom among Heart Throb dealers.
A general optimistic tone, however, prevailed.
Trading in Matrimonial shares was brisk, with
the Claire Trevor-Clark Andrews marriage
leading the movement. The rise was reflected
in the Lee Tracy wedding. Lita Grey Chaplin's
recovery was marked, with announcement of
her participation in Matrimony, Preferred. The
Mary Lou Lender-Delmer Daves nuptials at-
tracted the attention of traders and insiders
considered the marriage of Carole Lombard's
secretary, "Fieldsie," to Director Walter Lang
significant.
Foreign holdings were depressed by reiterated
attention to the affairs of Sigrid Gurie, hailed as
deriving from Norway but actually originating
in Brooklyn. Her divorce from Thomas W.
Stewart and the Zita Johann-John McCormick
split caused Foreign Hearts to lag, but they re-
covered during the session.
Romances shared in the month's recovery,
along with Matrimonial shares, on a broad front.
Hepburn stock broke through the old high, with
rumored association with Howard Hughes. The
Michael Whalen-Ilona Massey participation
caused a flurry and much out-of-town interest
was reflected by the rise in Romances, based
on the Simone Simon-Gene Markey rumor. The
Loretta Young status continued to interest Ex-
change heads: her adoption of the George Brent
directorate was said, though not authenticated,
to be distressing to the Tyrone Power interests.
August: The market held its gains, in spite of
considerable speculation on the downside.
Bears' raids were reflected in the precipitate de-
cline of the Jack Oakies' Matrimonial listing.
The suspension of Velez-Weissmuller Maritals
had been predicted by all the insiders and caught
few gossip-traders short. Foreign shares were
easier, with Michael Brooke (the Earl of War-
wick) splitting, two for one, with his former
Countess. Other declines were shown in the
Ann Sheridan-Edward Norris marital status:
the Vera Steadman-Martin Padway listing
dropped the symbol Mrs. on the tape.
The Blue Chips, however, firmed after their
recent sharp rise and, in some cases, continued
their advance. Marriages rebounded when
Humphrey Bogart, twice divorced, and Mayo
Methot, once divorced, were merged in a new
corporation. The Sylvia Sidney-Luther Adler
amalgamation sent Marriage shares to a month's
high and caught many oldtimers unprepared.
Marital Tangles reflected the rumor that Dor-
othy Lamour, wife of Herbie Kay, seemed some-
what interested in a new merger with Randy
Scott. At least, the two were seen here and
there at the different dine and dance spots.
Pivotal stars showed revived interest. The
Ronald Colman-Benita Hume stock soared on
the rumor that consolidation of their interests
had already been quietly arranged. The Janet
Gaynor-Adrian situation was regarded as very
bullish by experts downtown. Incorporation
papers were said to have been drawn up be-
tween Arleen Whelan and Richard Greene,
whose stock had been one of the most actively
traded on the board in recent months. Hints
that he had been managed by a pool were dis-
counted by authoritative sources on the Ex-
change.
The rise in Hearts and Marriages was reflected
(Continued on page 75)
V
BY LOUIS SOBOL
MISS TERRY RAY sat in the frantically
fluttered cubicle I call my office and
blurted out, "Oh, yes. I'm married.
Why, heavens, I've got a little boy — Skipper.
He's three-and-a-half "
The mild-mannered young gentleman who had
accompanied Miss Ray to the office blanched.
He thrust out a hand as if in shuddery disap-
1 "T-t-tcll him." he spluttered, "how you
are really a Twentieth-Century Cinderella
and — "
"Oh," murmured the girl. "I'm sorry. I
shouldn't have said that about Skipper — should
I? May I have a cigarette, please?"
But she didn't sound too sorry except, per-
haps, for the ling publicity man who
looked woefully forlorn and let down at the
awfulness of the revelation.
It was no hardship talking to and looking at
the slim, pulchritudinous young matron who no
longer is Terry Ray but listed on the Paramount
pay roll as Ellen Drew. Since her nice press
notices, earned after the critics surveyed her in
Ellen justified the faith of
discerning fans by her per-
formance in "If I Were King"
"If I Were King," Ellen has become a Personal-
ity and the studio emirs are currently polishing
up that precious wand, one wave of which trans-
forms talented little girls into stars, with all the
billing and salary concomitants, option pickups
and exploitation flurries that keep a cinema
notable in allegedly high spirits — and amply
filled purse.
Personally, I think this Cinderella business is
overdone. Every little girl who once went to
high school and whose father was not a banker or
senator is a Cinderella girl as soon as she lures
a stage or screen contract and I, for one, am
pretty bored with the description — and don't be-
lieve it anyway.
I wouldn't call Ellen Drew a Cinderella-girl.
In fact, I won't. She is a trim-bodied, clear-
eyed, self-reliant young woman with a keen
tality who is beginning to cash in on her
assets. Neither her father nor her mother was
ever connected with the stage nor was either
abnormally interested in what went on behind
the footlights. Nor, for that matter, was Ellen
until someone in the Parker High School in
Chicago thought the little girl with the green-
blue eyes and the chestnut brown hair and the
rather mellow voice was just the sort of girl
A famous columnist, who never be-
lieved in Cinderella stories, met
Ellen Drew, whom stardom's magic
wand has just touched. Now h^
knows there's one real Cinderella
who ought to show her school spirit by appear-
ing in the school plays.
Ellen Drew, who was Terry Ray, was born
in Kansas City, November 23, 1915, which proves
to the mathematically inclined that she is twen-
ty-three years old. The family moved to Chi-
cago when Ellen was of high-school age. Two
years later, her education was brought to an
abrupt curtain when her father and mother
parted and the girl decided she ought to go to
work.
She told the employment man at Marshall
Field's department store that she was eighteen,
which she wasn't because she was only sixteen;
but he believed her and every week thereafter
she received a pay envelope with fourteen dol-
lars in it.
Six months later she moved over to Grant's
5-and-10 where she sold jewelry and baby
clothes and earned as high as eighteen dollars
a week. Occasionally, she went to a movie, but
she did not swoon over the current leading men
or develop a hunger to dress and look like the
prevailing feminine stars. As a matter of fact,
she admits if you asked her quickly who was
her favorite, she would have to answer almost
as quickly, "I can't remember."
Friends were heading toward Hollywood by
automobile and Ellen was invited to go along.
She had lost her job at Grant's during an effi-
ciency curtailment and work was scarce in Chi-
cago. There was a tentative promise of a job
in Hollywood. So she went — -and the promise
was fulfilled. Ellen Drew, pretty and ambitious,
became a salesgirl in Brown's Confectionery on
Hollywood Boulevard, not a pebble's throw from
Grauman's Theater. Salary, twenty dollars
weekly.
The girl became a bit more movie star and
(Continued on page 70)
16
BY IDA ZEITLIN
A T five o'clock on the day "Four Daughters"
/ \ was previewed in Hollywood, a young
/™\ man slipped into the theater. He was
short and black-browed, blunt features lighted
by a pair of fine dark eyes. He found himself
an obscure seat in the gallery, sat through two
features once and one newsreel twice.
At seven or thereabouts he produced a sand-
wich from his pocket and munched it, the faint
crackle of waxed paper drawing scowls from his
neighbors. You might have gathered that a cer-
tain surreptitious air about him arose from the
knowledge that all along he'd planned to eat a
sandwich where none should be eaten. You'd
have been wrong. He was simply intent on
hiding out in the crowd.
At five, few would have recognized him. At
ten forty-five — he sat slouched in the darkness
for half an hour after the preview was over — it
was a different story. A star had been born.
Or, since Mr. Garfield frowns on the word star,
a luminary. For a change, movieland was cheer-
ing a young man who could never have posed for
a collar ad — cheering not a face, but a perform-
ance. Autograph-hunters, wise in the ways of
their prey^ nabbed him as he tried to sneak
through the side door. Still unaccustomed to his
movie-given name, he signed "Jules Garfield."
"Waddaya mean, Ju-leez?" snorted one indig-
nant youth. 'Ain't you the guy wuz ina pitcha.
name o' John Garfield?"
''That's my grandfather." explained the har-
assed Garfield, and fled.
He'd gone to the preview to take notes on
what he did wrong. By arrangement. Roberta,
his wife, had sat downstairs. He preferred to be
alone with his agony. "I'll twist my own fingers
instead of yours," he'd promised.
Introducing John Garfield — bright new luminary in the movie constellation
He'd been warned against Hollywood pre-
views. But then he"d been warned against other
aspects of Hollywood and found his fears to be
groundless. "I expected the worst and got the
best — a swell part, a director who directed and
still left me free to make what I could of Mickey
Borden, plenty of good parts lined up so I don't
have to moulder. No, I'm a Hollywood booster
—so long as they don't star me. Anyway," he
grinned. "I've got my sixty-day stage clause.
So what can I lose?"
It was the stage clause that postponed his
arrival in Hollywood. Movie scouts had been
after him for a couple of years.
"No contract." said Garfield, "without a clause
that says I can go back to the stage on sixty
days' notice."
"You're crazy." they lold him. "giving up all
that dough. The theate is dying."
Garfield's answer. u\ distinguished by logic,
was nevertheless effecive. "You're dying," he
(Continued on pnge 76)
17
ra
Mother
T^ \
With a twinkling eye on Hollywood's pet stars,
Walt Disney turns the pages of Mother Goose's
familiar nursery rhymes to create a brilliant new
film — with results pictured exclusively in Photoplay
/A
'Any resemblance of charac-
ters herein portrayed to per-
sons living or dead is purely
coincidental," Mr. Disney as-
sures us; but, unless our eyes
deceive us, that's satchel-
mouth Joe E. Brown who's just
done a hottruckin' number with
Martha Raye. Joe won by a kiss
— see the outline on his face?
Old King Cole (Hugh Herbert) was a merry old soul, a merry old
soul was he; he called for his fiddlers and he called for his
bowl, but when the bowl was opened, the soup began to quack.
Woo, woo, woo, it's not Mother Goose — but it is Donald Duck
The King's Jester (frozen-faced Ned
Sparks), with cigar in mouth and stick
(topped by Ed "The Perfect Fool"
Wynn) in hand, sees nothing funny
in the King's entertainers, so^"Woo,
woo, woo, off with their heads . . .'
"My fiddlers, goody-goody-goody . . ." gleefully
cries Old King Cole as Groucho, Harpo and Chico
ut in their appearance as Fiddlers Three. They tune
their fiddles, get ready to play, then, in typical
Marxian manner, break them over their knees
Humpty Dumpty sat on a wall, Humpty Dumpty had a great
fall — much to the merriment of that smug little Charlie
McCarthy who has aroused the ire of W. C. Humpty-
Dumpty Fields by heckling, "Hah-hah-hah — lovely day —
lovely day — what a beautiful sunrise — or is that your nose?
l-vant-so-much-to-be-alone Garbo has her wish
gratified when she plays "See-saw Marjorie Daw"
with Robinson. "O.K., Babe, you asked for it,"
says Eddie, as he teeters from his end of the totter
(Continued on the following page)
19
\>
»><
i*&r&£i&
*o<*
tk»p «\^ tS H^c ,-wn'
rfe* V*
O*
Along comes Oliver Hardy, the Pieman whom
Simple Simon meets at the Fair. Simon pulls a pie
from the middle of the pieman's wares without dis-
turbing the order of the stack. But when Mr. Wise-
man Pieman tries it, what happens to the pies
never occurred in any volume of Mother Goose
fli
CONTINUING
MOTHER
GOOS
E
&
cO*S>°?Vv
ov>'
Hv>'r\\0^
c&c
^vr>
Nimble-footed Fred Astaire is a
star member of the large and
famous brood who "lived in a
Shoe." When they put on a
show to help out their poor dear
mother, kiddies Edna May
Oliver, Mae West and ZaSu
Pitts are trumpeteers who, with
Cab Calloway and Fats Waller,
offer a mad and merry finale
Rub-a-dub-dub. Three men and a maid in a tub.
Bold Captain Bligh (Charles Laughton) is "at sea
without even a compass." Mariners two and three
are Manuel (Spencer Tracy) and his too, too
refined "leetle feesh," Freddie Bartholomew. Little
Bo Peep (La Hepburn) moans for her lost sheep
goes HOLLYWOOD
Out from behind a large pie pops Little Jack
Horner. He neglects to "stick in his thumb and
pull out a plum" in his haste to sing, in the
inimitable Eddie Cantor manner, the tuneful
"Sing a Song of Six Pence, a Pocketful of Rye,
Four and Twenty B ackbirds baked in a Pie"
Fraught with drama is the tragic
situation of poor Little Bo Peep Hep-
burn, who, scanning the horizon, re-
cites dolefully and with perfect dic-
tion, "I've lost my sheep — really I
have. I can't find them anywhere —
really, I can't. They were such
lovely sheep — really they were"
rd
,us
^
v°
s*e: **?:*&*
c,Voe ft\ftc
,cc°
o
v.e»^' 'v «
*"\,#>-Kl n
ot«*e
21
HOLLYWOOD'S UNMARRIED]
"Just friends" to the world at
large — yet nowhere has domesticity
taken on so unique a character
as in this unconventional fold
BY KIRTLEY BASKETTE
The romance of Clark Gable and Carole Lombard is an interest-
ing manifestation of how famous untied twosomes take to one
another's hobbies. But calling the case of Paulette Goddard and
Charlie Chaplin (top) is something else again. Did they take
the vows on Charlie's yacht? Even Hollywood wonders
EVERY afternoon, for the past three years,
a little meat market on Larchmont Ave-
nue, near Paramount studios in Holly-
wood, has received a telephone call from a
woman ordering a choice New York cut steak.
Sometimes she orders it sent to the Brown
Derby, sometimes to an apartment penthouse
on Rossmore Street, sometimes to the studio.
Wherever George Raft happens to be dining.
The woman who sees that George Raft has
his favorite evening meal, no matter where he
may be, ta Virginia Pine. She is not George's
wife, although there's little doubt that she
would be if George's long-estranged wife would
give him a divorce.
Carole Lombard is not Clark Gable's wife,
cither. Still she has remodeled her whole Hol-
lywood hfe for him. She calls him "Pappy,"
bunting with him. copies his hobbies,
makes his interests dominate hers.
Barbara Stanwyck is not Mrs. Robert Taylor.
But she and Bob have built ranch homes next
to each other. Regularly, once a week, they
visit Bob's mother. Mrs. Brugh, for dinner.
Regularly, once a week. too. Barbara freezes
homemade ice cream for Bob from a recipe his
mother gave her.
Nowhere has domesticity, outside the marital
reached such a full flower as in Holly-
wood. Nowhere are there so many famous un-
married husbands and wives.
22
To the outside world Clark Gable and Carole
Lombard might as well be married. So might
Bob Taylor and Barbara. Or George Raft and
Virginia Pine, Charlie Chaplin and Paulette
Goddard. Unwed couples they might be termed.
But they go everywhere together; do every-
thing in pairs. No hostess would think of in-
viting them separately, or pairing them with
another. They solve one another's problems,
handle each other's business affairs.
They build houses near each other, buy land
in bunches, take up each other's hobbies, father
or mother each other's children — even correct
each other's clothes — each other's personalities!
Yet, to the world, their official status is "just
friends." No more.
Yet George Raft, a one-woman man if there
ever was one, is as true to Virginia Pine as a
model husband would be. He has been, for
three years. He has just bought her an expen-
sive home in Beverly Hills. Recently, when
they had a slight tiff, George took out some
other girls, but was plainly so torch-burdened
he could hardly stand it. He has never se-
riously looked at anyone else. Nor has Vir-
ginia.
Consider the results — strictly out of wedlock.
Before they met and fell in love, George was
the easiest "touch" in Hollywood. He made big
and easy money and just so easily did it slip
through his fingers and into the outstretched
palms of his myriad down-and-out friends.
George, who came up the hard way, still has a
heart as big as a casaba melon and as soft in-
side. But he is more careful with his money
now. He invests it — and well.
Before he met Virginia, George's civic inter-
ests ventured little further than Hollywood and
Vine, the fights, and a few of the hotter night
spots. Now George Raft has his finger in a
dozen Los Angeles business ventures and com-
munity interests. He is a solid citizen.
Before George and Virginia teamed up as a
tight little twosome, George gloried in flashy,
extremely-cut clothes. His suits, always im-
maculately knife-edge creased, had trousers
with the highest waistlines in town. His coats
were tight across the shoulders, narrowed ex-
tremely at the waist. His shoes were narrow,
pointed and Cuban-heeled. He was Mister
Broadway.
Virginia talked him into seeing Watson, one
of Hollywood's most exclusive tailors. What's
more, she talked him out of the theatrical
clothes and into a more conservative taste.
All this is called "settling down." It usually
happens to people after they've been married.
Only George and Virginia still aren't married.
He lives at the El Royale Apartments and Vir-
ginia lives in another building up the street.
They just go together. But she orders his
meals. And he spoils her little girl to death.
HUSBANDS «nd WIVES
Gilbert Roland (top) has been Connie Bennett's
devoted slave for years, while Connie's titled hus-
band remains in Europe. Just "going together"
are Virginia Pine and George Raft — but she orders
his meals and he fathers her little daughter, Joan
Another "almost perfect" domestic picture — Barbara
Stanwyck (top, with her son Dion) and Robert Taylor.
Interests — deep, expensive, permanent — merged when
Bob bought the knoll adjoining Barbara's Northridge
ranch. Marriage couldn't have worked more of a change
No real father could be more infatuated than
George with Virginia's five-year-old daughter,
Joan. Nor would you call George the perfect
picture of a family man, either. He has already
paid up an insurance policy that will guarantee
Joan a nice little stake when she is ready for
college. He seems to lie awake nights planning
something new and delightful to surprise her
with whenever he sees Virginia, and that's
usually all the time.
One of the stories the salesgirls still tell down
at Bullock's- Wilshire, Los Angeles' swankiest
store, is about the day Virginia Pine and little
Joan came into the shop. Joan spied something
she wanted right then. But Virginia, wishing to
impress upon her daughter that a person isn't
always able to have what he or she likes in this
world, said, "But, Joan, you can't have that.
You haven't the money to pay for it."
"Oh, that's all right," stated Joan in a loud,
clear voice. "Just charge it to George Raft!"
When Bob Taylor docked in New York from
England and "A Yank At Oxford," he waited
around a couple of hours for a load of stuff he
had bought over there to clear customs. Most
of it was for — not Bob — but Barbara Stanwyck
and her little son, Dion.
They've been practically a family since Bob
bought his ranch estate in Northridge and
built a house there.
Northridge, itself, is an interesting mani-
festation of how Hollywood's untied twosomes
buy and build together. It lies in a far corner
of the San Fernando Valley, fairly remote from
Hollywood, all of fifteen miles from Bob's stu-
dio, Metro-Goldwyn-Mayer. No coincidence
can possibly explain his choosing that site,
pleasant and open though it is. right beside Bar-
bara Stanwyck's place.
Barbara was there first. With the Zeppo
Marxes. she established Marwyck Ranch to
breed thoroughbred horses. She built a hand-
some ranch house and moved out. Bob Tay-
lor had never been especially interested in either
ranch life or horses until he started going with
Barbara. But witness how quickly their inter-
ests— deep and expensive, permanent int>
(Continued on po:
23
: i 7
The story of a jungle
child in a modern world
BY KATHARINE ROBERTS
THOSE who saw a very small, half-naked
brown boy making an oversized elephant
do exactly as he wanted him to in the pic-
.illed "Elephant Boy," released just a year
and a half ago, might have been somewhat sur-
prised to meet a young fellow named Sabu
ir on his recent visit to these United
Even seeing his new picture, "Drums,"
> preparation for the Sabu that came into
a drawing room at the Ritz-Carlton, shortly
after a giant Sikh guard who wore his beard
rolled up in a hair net had waved us toward a
chair and .-aid, "Pliz — down-sit'.'"
We down-sat with our back to the door and
our attention was riveted momentarily on an-
other large uniformed Sikh, minus hair net, who
the room and, it being one of
chilly autumn days, pointed an electric
m at us and turned it on full blast.
Then, almost as though he had sprung out of
appeared a slim, brown-
ftkinni fellow in a Kray English-cut suit
and seai let turban. Mercifully, a sudden wide
smile turned this poised young person into the
well-remembered little boy, Sabu.
We hadn't heard him come in. He seems to
enter a room a noiselessly as he ever moved
about a jungle Thoughtfully, he ordered the
fan turned ofT. He spoke to the Sikh in his
own language, but. turning back to us, lowered
his voice and. indicating both guards, said. "I
think they know more English than they say.
Sabu, the little Hindu
lad of "Elephant Boy"
and "Drums" fame, has
grown into a poised
cosmopolite, sharing in-
terests in common with
such stars as Ann
Sothern and Fredric
March (above, left)
You know, they have been in England longer
than I have." Then he added, "But who learns
a language Easter, ;* grown man or a boy?" A
boy, of course. "Yes," said Sabu, "because a
grown man — he always wants to go in the eve-
nings and have a good time at night clubs. A
boy can work." His own English is very good
and has surprisingly little accent.
"Do you need much guarding?" we asked,
looking back at the colorful Sikhs. Sabu
grinned and we suggested, "Of course, they are
very good decorations for a visiting picture
star."
"I ought not to say that," observed Sabu
sagely.
IT is pretty evident that the great change in
Sabu is due not merely to the fact that he has
grown ten inches in height since he made
"Elephant Boy" — as youngsters of his age are
bound to do — or that, instead of the scant cloth
tied about his middle like a relic of infant days,
he is now wearing coveted long trousers. That
rollicking Hindu child with his occasional
strange small dignity has grown into a poised
young cosmopolite, albeit with a boyish eager-
ness and a mischievous sense of humor break-
ing through. He is a likeable kid — very direct.
Whenever you talk with Master Sabu Das-
tagir these days, the conversation invariably
gets around to airplanes. It usually includes
fast cars, too. After all, he grew up with ele-
phants and they are said to be the fastest
travelers in the animal kingdom.
So, in the two years that he has been in Eng-
land, the progress to an interest in motors and
planes is probably a natural development. He
sketches pretty well and it is significant that
nowadays every time he picks up a pencil he
draws either elephants or airplanes. It used to
be only elephants. Maybe he is transportation-
(Continued on page 80)
24
/\ 3rp&a&4- I
Epitome of aesthetic Hollywood: Eng-
lish Madeleine Carroll, wife of Lon-
don's Philip Astley; co-worker, in
"Cafe Society," of Paramount's Fred
MacMurray; and chief cardiac dis-
turber of males the world over
Watting
BRINGS YOU HOLLYWOOD AT ITS PICTORIAL BEST
"WHO'S BEH I N
The "eyes" have it here — or they will, after you've
worked this special Photoplay optical guessing
game and spotted the wearers of the dark glasses.
P.S: they take their glasses off on page 84
Lffiij£9
E
P
i
1
i . ;V-.
■
'
\
i*
IE GLASSES?"
16
I
•*
4
*
Youngest of the "lucky MacDon-
alds" of Philadelphia — Jeanette,
the redhead, whose voice has awed
gaping grammar-school audiences,
Broadway musical critics, commer-
cial connoisseurs of Hollywood. A- 1
member of the West Coast "team-
sters' union" by right of her per-
sistent partnership with Nelson Eddy
of M-G-M's "Sweethearts," she
defied conventions over a year ago
by being married — in pink — to an-
other man and, as Mrs. Gene
Raymond, has been seeing a rose-
colored world ever since
Pull
m
•H
4it(/Jik#.
The "half and half" Merle Oberon,
international by birth and profes-
sion, who, by a special film pact,
emotes eight months for American
Goldwyn, eight months for English
Korda. The Lady now of Goldwyn's
"The Cowboy and the Lady," the
erstwhile "Queenie" O'Brien
Thompson of Australia confirms her
heritage by talking like an English-
woman, wearing clothes with a
French flair, stating with American
frankness that someday she'd like
to marry and have six children,
"three for each side of the table"
Coburn
S BU/)
\
Joan Crawford gets a profes-
^ sional change by trouper
^ Shipstad and escort Romero
^1
Style interest centered in Janet Gaynor, wearing "new per-
sonality" clothes designed by her rumored fiance, Adrian
/^
^ ?0?rt
,v o< *e
«>»**
Ht#*
lJo*«
PHOTOGRAPHS BY HYMAN FINK
/
The merry young skates of Hollywood flash their stuff
after the opening of the Ice Follies — which solves the
Great Movie Mystery as to why, on a certain /fmorning
after/' half of filmtown took their meals standing up
Product of icy Montana, Gary Cooper, came with skates
slung over shoulder, but just "spectated" with Mrs. Cooper
low, celebrities donned skates at the Pan
/ards were: a laurel to Betty Grable and
►posite page) for endurance; to Charlie
;ro (top), for honest endeavor; to Joan
of the troupe), for "catch on quickly"
palm to veteran Mickey Rooney (above
»r his ice tricks, which made professionals
ling nonchalance of his sartorial effects
CiA?
tfaxsi
Dolores Ethel Barrymore, the eight-year-old
daughter of Dolores Costello and John Barry-
more, is as lovely as a bit of rare lace or a por-
trait you have put away in lavender and lemon
verbena. On the day she was asked her fa-
vorite story, she wore a short-waisted, puffed-
sleeved, ankle-length frock of shadow-pink or-
gandie with a sash of dusty blue baby ribbon
velvet. She is called Deda, and her favorite
story is the story of Honey Bear because of
the old bear's sunny disposition, consideration
of which would materially lessen her fears if
ever she found herself lost in the woods!
DURING the past twelve months,
Dixie Willson has personally called
upon forty of America's most illus-
trious children to ask each of them two
questions: first, his favorite story; second,
his reason for the choice.
Forty portraits, with autographs, and
twenty of the chosen stories retold, are to
be found in one of the most interesting and
unusual books of the fall season, which
made its bow on November, the first, called
"Favorite Stories of Famous Children,"
published by Henry Holt.
Herewith we present a bouquet from the
book's pages; a bouquet of those children
who reflect Hollywood and in whom our
readers will have an especial interest.
A child's favorite story is more than
just ... a favorite story. Because one
day it will be the memory of a certain
armchair by a certain window, gray rain
over a certain November garden, the eyes
or the voice you love to remember best
of all. So to have found that favorite
story when you are yet as young as
Johnny-jump-up in April is to have found
one of the rarest treasures you will ever
possess. As expressed with enchanting
seriousness by Helen Hayes' seven-year-
old daughter, Mary . . . "Your favorite
story is one of the very most importantest
things you ought to decide because it's go-
ing to be one of the things you want to save
for your children."
CAPTIONS BY DIXIE WILLSON
FAMOUS CHILDREN
^
Sandra Burns, who has just turned
four, is the sweetest punctuation in
a day for her mother, Gracie Allen,
and her daddy, George Burns. She
can't quite toss off an autograph,
but she's perfectly certain about her
favorite story, which is "Peter Rab-
bit," because he is always doing ex-
actly the things she likes to pretend
she is doing herself
They don't come any finer, at fourteen, than
young Paul Whiteman. And since he's al-
ways liked the sea, his favorite story is
Dana's "Two Years Before the Mast"; and
with a reason typical of a straightforward
American boy. "I always put a lot of faith
in Santa Claus," says Paul, "and then I
found out about it. Ever since then, the
things I like are the things I know are real"
Gloria Lloyd, wearing a gay blue play
suit, a bright daisy chain around her
long light hair giving her quite the air
of a Queen of the May, assured us
her favorite story is "Understood
Betsy," because she is certain that no
matter how old she is, she will love
it just as much as she does now
The favorite story of six-year-old
John Barrymore is Andersen's
"Snow Queen," and for the follow-
ing sound reason: It is such a good
story that they made a play out of
it, and it was such a good play that
he was taken to see it, and, since a
play happens at nighttime, this en-
abled him, in addition to the thrills
of the play itself, to find out for the
first time in his life what the real
moon and stars and night look like
OD^wl Jy OAMj/rv&~il^
Leslie Howard, Jr. possesses that
quaint charm which is the inherit-
ance of all English children. Quite
English, too, is her love of horses.
She has owned them and has rid-
den them ever since she can re-
member. And so her favorite
story is the tale of a horse; the
story of Hildebrand . . . "Such
a jolly ridiculous beast," says Les-
lie, "that I'm sure it will always
be my favorite story because I
never can quite finish laughing
at it."
b
1A
J f
Father of two — Don Ameche, leading young bene-
dict of the film colony. Personable possessor of a
Coast-to-Coast name, he wins celluloid sanction in
Fox's "The Three Musketeers" by his smile, radio
royalties by his "Sunday night" voice, Hollywood's
homage by reason of his "take a chance" technique
Mother of two— Joan Blondell, good
wife at heart, actress at will, tom-
boy by nature; the shining light
of Warners' "Love Bites Man" and
of the fourfold Powell menage
THEY HAVEN'T CHANGED A BIT
1. WILLIAM POWELL: What every smart sheik should
know, or Turkey-Trotting your way to a lady's heart —
as done by Bill Powell ten years ago. The Fred Astaire
of '28 in a desert comedy presents a certain like-
ness to his wackier roles today — eh, Watson?
2. MAY ROBSON: Many times a grandmother and more
recently a great-grandmother, she looks younger
every year. Left, as she was in 1907 in "The Regi-
mentation of Aunt Mary." This screen mother doesn't
believe in sparing the rod and spoiling the start
3. MIRIAM HOPKINS: Seen here in a middy blouse, she
was almost as cute as she is today in mink! At this
time (fifteen years ago), she thought she'd be a
dancer, signed later for a ballet tour. Luckily, she
was saved for films by a last-minute broken ankle
4. LIONEL BARRYMORE: Now called the greatest living
actor, he's been in the spotlight for fifty-nine years.
Eighteen years ago in "The Copperhead" (above),
his piercing eyes were as familiar as they are now.
Time changes everything but the Barrymore profile!
5. FREDRIC MARCH: Time and March— but Freddie has
the march on time, for he hasn't changed in ten years!
In 1928 (above), when he did his Barrymore stage
take-off in "The Royal Family," John was there and
roared! Footlight fever is still in Freddie's blood!
6. ADOLPHE MENJOU: The same mustached Menjou
seventeen years ago — when he bluffed his way to
stardom with Valentino in "The Sheik." A $35 flivver
and a $ 1 ,000 wardrobe did the trick. The flivver was
paid for — the wardrobe, a walking ad for a tailor!
7. ALAN HALE". Some villains have all the luckl Twenty-
five years of scoundrelhood have won Alan fame and
fortune. Where there's a movie there's a menace:
the Hale pictured here began in 1914 with the tin-
type. Flickers came and went; Alan always prospered!
8. FRED MxMURRAY: Vocal boy before he made good;
but even in 1924, Fred (right) had plenty of sax ap-
peal. After tooting his way into a band, he went
West — but the movie moguls were tone-deaf!
Later, scouts "discovered" him touring on Broadway
9. GARY COOPER: Twenty-one years haven't changed
that lopsided grin. The anti-glamour boy himself,
bursting with pride over his first hard-won motor-
cycle, when he was long, lean and seventeen in
Helena, Montana. Today he rides a Goldwyn saddle
10. CHARLES RUGGLES: Fifteen years ago, he was rolling
'em in the aisles as the "Battling Butler" of '23 — the
same solemn stuttering Charlie (left); and his gags
packed the same hearty laughs. Usually on a spree in
his film roles, he's really a quiet, soft-spoken fellow
11. GENE RAYMOND: Ruffle him up today and this is the
way he'd look — as he did in 1923 in "The Potters"
when his stage name was Raymond Guion. His new
leading lady (and missus), Jeanette MacDonald, now
fixes his neckties — and we'll bet they stay tied!
12. WALLACE BEERY: A slippery fellow in 1914, his vil-
lainous career began over twenty-five years ago.
Hissed and booed then for this mustache and wicked
curl, bad-man Beery is today one of the screen's most
lovable rascals — but he looks the same as before!
KHYB
a
m^t
CALIF
IA
On California's Himalaya-like Mt. Whitney, RKO's George
Stevens is directing a major production battle, the majes-
tic scope of which may be judged somewhat from these
stirring scenes. It is the film saga of Gunga Din, native
hero of the Kipling poem on the British conquest of India.
By means of a loud-speaker and telephone system, Director
Stevens jogs up musketeers Cary Grant, Victor McLaglen
and Doug Fairbanks, Jr.; keeps Gunga Din (Sam Jaffe, top)
in action; lines up Highlanders, white-skinned, and Hindu
Thugs, brown-skinned — by wholesale spray-gun action. Re-
laxation from the battle fray consists in more personal and
pleasant direction of the Fairbanks-Joan Fontaine romance
y
MOMENTS
— Joan Crawford and Margaret
Sullavan ... in that spectacular
M-G-M presentation, "The Shin-
ing Hour," a film to merit the
public's cheers ... in the arms
of their respective screen hus-
bands, Melvyn Douglas and
Robert Young. Featuring two
glowing girl breadwinners, top
stars of a top-budget picture
Come wind or rain, earthquake or
hurricane, Mrs. Grundy's preco-
cious offspring brings you the
latest gossip on the flicker-folks
Solo Act— With Reason
ARE you free, white, twenty-one and can you
date a beautiful girl any night in the week if
you choose?
Well, lucky you. It's more than two famous
screen stars, James Stewart and Tyrone Power,
can do.
One evening last week at the Beverly Brown
Derby, Jimmy Stewart sat alone having a soli-
tary dinner. Across the way sat two young
ladies from Idaho. They were unable to swal-
low a bite — just sat watching the handsome
young actor.
"Just think," one said to the other, "of all the
thousands of girls who would give their eye
teeth to be eating dinner with Jimmy Stewart
and yet here he is alone." Finally, one of the
girls could bear it no longer and sent over a
note saying, "Couldn't you get a date tonight?"
Jimmy grinned back but said nothing.
"It isn't a question of getting a date and cer-
tainly not with Jimmy," Ty Power said, when
we told him of the incident. "It's a question
of having a date and facing embarrassment for
both you and the girl. It's got so I never step
out the door with a young lady, even an old
friend, that our marriage isn't predicted by
Hollywood. Or some romantic question is at-
tached to it, at least.
"You can imagine how any girl feels when
she's faced with these constant explanations and
embarrassments. So, like Jimmy, these days I
either trot off alone or go everywhere with my
mother, sister or friend who I know understands
and won't mind."
Comment on Miss Davis
WE'VE said it before and we say it again: Holly-
wood is small-town to the core. And like every
other small town, it has its favorite drugstore.
At Schwab's, neither elaborate nor unusual, can
be found, at most any hour, a movie celebrity at
the soda fountain.
Here Robert Taylor, perched on a fountain
stool, eats many a solitary dinner.
And of course one is bound to hear interest-
ing tidbits as the coca colas fly hither and yon.
For instance, Bette Davis' chauffeur, waiting
for a package at the drug counter, met another
chauffeur also waiting.
"What goes on up at your house?" the sec-
ond chauffeur asked.
"I don't know what it's all about," Bette's
chauffeur sighed, "but I can tell you this: I
never knew two people to love each other as
much as Miss Davis and Mr. Nelson. I just
can't understand it."
Thoughts on Deanna
HOLLYWOOD is amused at a story about Uni-
versale young lady wonder — Miss Durbin.
It seems an extremely self-assured and so-
phisticated chatter-writer lunched with Deanna
at the studio one day recently. All briskness
and efficiency, the writer assumed command of
the situation and proceeded to talk. Gradually,
however, the writer became less and less volu-
ble until finally, around dessert time, there was
a complete change in the situation. The writer,
her tail feathers plucked for a fare-thee-well,
was listening quietly to sensible and adult ob-
servations delivered by Deanna.
"It was the way she looked at me." the writer
said afterward, "with those clear penetrating
eyes looking through me and that little half
twinkle thrown in for good measure. I've never
been rendered so unsure of myself in my life.
"I wonder what she really thinks of me," the
writer sighed.
Finis for Garbo?
ANYTHING can be overdone, even in Holly-
wood, and all this secrecy surrounding Garbo
has finally overreached itself.
When Garbo returned to Hollywood after her
lpng European sojourn, one of the star's few
friends phoned a friend of hers.
"Look." she hissed in the phone. "Greta will
be here tomorrow, but I dare not name the time
or place of her arrival. I must keep it secret
for a while."
41
-
PHOTOGRAPHS BY HYMAN PINK
S
r
L
'V
W.
For once, Carole Lombard was on the
receiving end of a practical joke.
When her birthday rolled around, the
crew of "Made for Each Other" threw
a party. Her present? — a mule, whom
"Missy" promptly christened Scarlett
and added to her menagerie at home
Why?" queried the friend.
There was a sudden sputtering and stutter-
ing over the wire.
use it is Greta. She is coming!"
. but who will care?" was the next ques-
tion. "Who will be bothered or what will it
matter?"
The receiver went up with a slow click; you
see, the friend was right. It didn't really matter
much to anyone in Hollywood, anymore.
Concerning Four Nice People
IT'S the life of Riley for the Jones and Young
families <>f Hollywood. When Mr. and Mrs.
Bob Young end Mr and Mrs. Allan Jones de-
cide to do b hit of Bight-seeing, the four hop
into Allan's trailer and arc off for whatever
place offeri th<- most excitement.
Partners in a riding academy. Bob and Allan
are the best of friends and so are their wives,
which makes it pleasant when the evening
chops must be cooked in the trailer for the eve-
ning meal, or housekeeping duties divided be-
tween them.
Card games or good old-fashioned singing
.re the entertainment between hops from
rodeos to the races or the shore
Nice people, these Jones and Youngs!
Hank Fonda, out stepping with one of
the prettiest wives in cinema circles. But
don't get ideas — it's his own First Lady
"I'm Married to Ronald Colman!"
DENITA HUME, the English actress who mar-
ried Ronald Colman, is considered Enigma
Number Two in Hollywood; her famous hus-
band being the top winner in the know-little-
about group of people.
"So few people know her," is the usual Holly-
wood cry. "I can't say what she's like."
But old Cal knows.
After a friendly chat we discovered several
things about the lady.
To begin with, she's dark haired, vivacious,
frank and honest and is just as thrilled over
marrying the prize catch of Hollywood as any
girl should be.
"I wake up in the morning and think to my-
self. It can't be. It just didn't happen.' "
Her accent is charming. Her sense of humor
(and she's English), keen as a razor.
She was quite the big star in London, with
all the fun, fans, thrills and excitement that
Two and two make four — and four of
the nicest people in Hollywood are
the Allan Jones and the Bob Youngs.
Why? See what Cal says about them
go with that very important status.
In fact, after one jamboree in which she and
Noel Coward were brought together head on by
clamoring fans, she declares Mr. Coward, his
collar wilted and hair awry, looked at her and
said,
"Isn't this disgraceful? I wouldn't do with-
out it."
In Hollywood she spent sixteen months in a
row making an M-G-M Tarzan epic. "I made a
great deal of money — oh, a lot," she said. "But
nearly everyone had forgotten me in the mean-
time.
"And then after Tarzan, for some reason,
nothing happened. Every picture I was sched-
uled for fell through or the part didn't fit. Sud-
denly I found myself using up all the money I
made on Tarzan. After 'The Last of Mrs.
Cheney' I didn't make another picture. Ronnie,
of course, can afford to stay off the screen a
whole year. He's so well established. But I'm
not.
"Even my part in 'The Cowboy and the
Lady' was eliminated from the story and there
I was again.
"I can't say how happy I was to go into
'Peck's Bad Boy at the Circus.' You know,
after a while one's confidence gets undermined
and presently I found myself wondering if all
my London success was about anything. I got
to thinking maybe I wasn't an actress at all."
nER blue eyes laugh as she talks. Her best
friends are Heather Thatcher, the English ac-
tress, and Mrs. Douglas Fairbanks, the former
Lady Ashley.
In fact, Benita accompanied the Fairbanks on
their round-the-world honeymoon as far as
Tahiti.
"I was engaged to Jack Dunfree when I ar-
rived in Hollywood first," she confided, "but
that was broken off.
42
4
9*/s
*Yt
t
°Ue
*V» A
\
"4
'Ps
"Sewing, eating and arguing are my favorite
sports," she says, her eyes twinkling. "Of
course, I like swimming, boating and riding,
but I do love sewing, eating and arguing.
"The sewing came about after I stood for all
the smug satisfaction from Heather and Sylvia
I could bear as they sat knitting or sewing away
with such a satisfied look. So I took it up and
I'm even smugger than both of them together."
She doesn't dare wear her hair atop her head.
"I'd grow pompous right away," she explains,
"sweeping my hair up with a gesture of elegant
pompousness." But she does put it up in curlers
at night to get the right curl in her short bob.
"I've moved into Ronnie's Beverly Hills home,
cats, dogs, birds and all. And it's too wonder-
ful. I can't believe it yet.
"I'm really married to Ronnie Colman!"
High Lights and Low Lights of the Month —
I HE rift between George Raft and Virginia
Pine grows wider and wider, while the love
between George and Virginia's little girl grows
stronger and stronger. . .
Clark Gable, attempting to master the art of
tap dancing for his role in "Idiot's Delight,"
doesn't know an electrician hid on a high rafter
of the sound stage to watch Clark, who per-
mitted no watchers. And the electrician be-
came so convulsed at Clark's awkwardness he
nearly fell headlong at the actor's feet. . .
After two years of courtship, Ida Lupino and
Louis Hayward are saying their "I do's" . . .
Charlie Chaplin's threat to play Hitler in his
next picture has the town a-twitter. . .
People are wondering about that sudden
weariness in Ty Power's eyes. Could it be just
physical exhaustion that has so changed Ty,
taken the sparkle from his eyes — or is it some
deeper reason? . . .
The love story of Jack Oakie is more hectic
than any he has ever played on the screen.
Jack was so in love with his estranged wife, he
escorted her home from every party and they
sat for hours before the house talking it over.
Mrs. Oakie's answer was — a reconciliation!
It's a Paramount Parrot
CLAUDETTE COLBERT is having, not serv-
ant problems, but servants' animal problems
in abundance these days. Claudette has a cook,
a jewel, so to speak, who owns a parrot that
Claudette's two dogs can't stand. So she's had
to have a cage built way at the back of the
yard for the bird who, when he wants to come
visiting at the house, calls loudly for "Miss
Zaza," and then insists on being brought in per-
sonally by the star herself.
t— dinner hour at the Troc, where Randy Scott
) her friends) are caught in a serious discussion
Stork News
IT'S baby season in Hollywood with the long-
legged bird the most popular celebrity in town.
Over on the Metro lot, Maggie and Maureen,
the two "Sullivan" girls (only Maggie spells
hers with two a's and Maureen goes individual
with an "O' ") are discussing daily the problems
of movie mothers. Maggie, wife of Leland
Hayward, is expecting her second child and
Maureen, wife of John Farrow, her first baby.
But Al Jolson isn't letting anyone get ahead
of him. Al, with one adopted son. is earching
for a set of fine twin boys to carry on the name
of Jolson.
(Continued on page 65)
43
(
* JUST AROUND THE CORNER—
20th Century-Fox
FTEK a aeries of n • • hides, Shirley Tem-
• idio baa given her. in this gay little picture,
formula for her growing-up talents A
little gul in a swank seminary, (he ia brought back
i York because her father, architect Charles
Parrel! hit by the depression. His return
to the big time depends on the repentance of a flint-
l okl finance-mogul who is holding up indus-
■ urse. Shirley, through her naive
charm, brings the old fellow around. Romance is
□ Farrell and Amanda Duff; entertainment is)
provided by Bill Robinson. Bert Lahr, Joan Davis
and Cora Witherspoon. The film is frankly childlike I
in theme, but Shirley is very cute and very capable. |
Nice to see Charles Farrell again, too.
THE NATIONAL GUIDE TO MOTION PICTURES
• ANGELS WITH DIRTY FACES— Warners
* ARTISTS AND MODELS ABROAD— Paramount
• SUBMARINE PATROL— 20th Century-Fox
I HIS is by all standards the best picture with a
crime motif since "Scarface." It has compelling
breathless suspense, pace and excitement and
a kind of gross beauty. The fine cast, capably di-
rected and abetted by superb photography, find the
well-written script an opportunity to give memor-
able performances. It's the story, told without com-
promise, of two boys of the New York slums; one
up to be . iininal. and that is Jimmy
1 The othei becomes a priest — Pat O'Brien.
1 ippeara in his old stamping grounds to
find his pal, O'Brien, busily trying to reform the
neighborhood. The problem of all ia a
group ol kuls the Dead End brats, of course — who
lowing in Cagney'a lethal t They
illy lilmht the good name of American ado-
ising their actions on B hero worship for
the big crooki of our da- takes the boys
out of O'Brien's hands and gives them tips on how
to be ul as thieves, Meanwhile, lie
into the b ling racket;
and with him takes, for rom.c I sake, an-
other of 01 inverta, beauteous Ann Sheri-
At last, tl • • t.s militantly out to
up the town I: I tght U< the
,•. the chair and it is
it hi i called upon to do a line thing he
yellow o the kids won't reaped him —
or ci mo any more Cagney'a performance is swell
but he- i- iziven all the meat: O'Brien grabs off
honors .vith his perfect work in a difficult role.
ANNUALLY, for the past few years, Paramount has
tossed an "Artists and Models" epic at you and you
have responded with pretty much enthusiasm. This
time you've good reason; the '38 edition has pace, a
multitude of gags, a cast in top performing condi-
tion and enough story to keep everything rolling.
Jack Benny plays the theatrical managing producer
who is stock in Paris with his troupe of girls. By
sundry hooks and crooks he keeps them one step
ahead of the gendarmery, so that part of the time
the gang are locked in a hotel room and part of
the time they are hiding in a couturier's shop.
of course, is the opportunity for the fashion
show, which is a feature of each "Artists and Models"
installment. The story is centered about Joan Ben-
nett, an American heiress visiting Paris because her
fiance, a diplomatic attache, is there. She hates the
quiet life alter all, she came from an oil town —
and when Jack Benny, thinking she's also a down-
and-outer, offers his help she accepts. Thus, with
rig of singing and dancing beauties, she runs
from adventure to adventure. Her pop comes chas-
ing after her and the troupe adopts him, too. be-
lieving him to be an old guy on his uppers. Real
trouble comes when Joan covets part of the French
collection of Josephine's crown jewels and Pop bor-
rows a piece to have it copied.
Benny, as usual, has good patter, which he de-
livers with his incomparable timing. Mary Boland.
the Yacht Club Boys and others supply comedy. The
fashions are spectacular but impractical.
UURING the World War America had a group of
little wooden tubs — called "The Splinter Fleet"—
which, unsung, went sailing over the seas in search
of enemy submarines. Most of the time it was nip
and tuck, with the submarine having the edge, natu-
rally. Well, Twentieth Century-Fox has told the
story of the "Splinters" in this film of a rich man's
son, Richard Greene, who joins the Navy and is
assigned to one of these little boats. The crew is
composed of men from all walks of life, green and
untutored. A sea captain in disgrace, Preston Foster,
has been demoted to command of the ship after court
martial and decides to regain his reputation by blow-
ing up the very worst Hun submarine of them all.
Thus the poor crew, who had thought they had a
snap setup, are forced into heroism. Of course, Greene
is shown the error of his snobbishness and, of
course, there's a girl: one Nancy Kelly, new but
beloved of her studio. She's the daughter of a
freighter's captain. The captain thinks Richard is
a no-good playboy — which, until War tests him. is
true. For your information, there are two great
suspense scenes in this movie, each highly exciting.
The rest is background.
Mr. Greene is likeable and good-looking; Preston
Foster steals the piece with a really fine perform-
ance; George Bancroft— as Nancy's father — does his
work with understanding and good will. Miss Kelly
herself is not pretty, but her bony Irish face has
an interesting quality. She shows promise of being
a good actress.
44
BLONDIE— Columbia
nS the beginning of a series which, if its comic-
strip progenitor is any indication, will have fans
panting in line to see every episode, this is mildly
important. Penny Singleton is Blondie, Arthur
Lake is Dagwood and little Larry Simms is Baby
Dumpling. When you have finished seeing the
picture you will remember nothing of it except that
you laughed a good deal, which is by way of calling
it a success. There's no story, just a series of predic-
aments got into by Dagwood and Baby Dumpling,
with Blondie working hard to save the day. Gene
Lockhart does the best work as Dag wood's boss, but
Miss Singleton has vivacity and Lake is quite won-
derful as the perpetually tramped-on, misunder-
stood, frantic husband. Take your children to this.
• GRAND ILLUSION— World Pictures
WITHOUT a battle montage or blonde spy, set in the
drab surroundings of German prison camps, this
foreign import is one of the finest of war films. All
types of men in uniform are thrown together — each
one contributing an important part in building up a
tragically honest picture of the human side of war.
The performances of Jean Gabin, middle-class real-
ist, Pierre Fresnay, idealistic aristocrat, willing to
sacrifice his life that his comrades might escape, and
Eric von Stroheim, disillusioned German officer in
command, are only a few of the excellent characters.
French director Jean Renoir has borrowed the
Impressionistic technique of his painter father.
Emotions are suggested rather than sharply defined
end the result is a restraint which will fascinate you.
* THE GREAT WALTZ— M-G-M
10 the thrilling strains of the waltzes he composed,
the story of Johann Strauss, the great Viennese
musician, has been brought to the screen with all
the color, verve and drama which crowded his life.
Fernand Gravet brings great understanding and
humanness to his portrayal of Strauss, while Luise
Rainer as his self-sacrificing wife is superb. Miliza
Korjus, newest foreign import, sings like the pro-
verbial lark and completely won over the preview
audience with her magnificent voice. The music is
one golden shower of melody featuring such favor-
ites as "Tales of the Vienna Woods" and "The Blue
Danube." Among the supporting cast Lionel Atwill
and Hugh Herbert are conspicuous. Julien Duvivier
earns his place among top directors for this.
SAVES YOUR PICTURE TIME AND MONEY
THE BEST PICTURES OF THE MONTH
Angels with Dirty Faces Brother Rat
Artists and Models Abroad The Citadel
Suez Just Around the Corner
The Mad Miss Manton Men with Wings
Submarine Patrol Grand Illusion
Sweethearts Young Dr. Kildare
The Great Waltz The Young in Heart
BEST PERFORMANCES OF THE MONTH
James Cagney in "Angels With Dirty Faces"
Pat O'Brien in "Angels With Dirty Faces"
The Dead End Kids in "Angels With Dirty Faces"
Jack Benny in "Artists and Models Abroad"
Eddie Albert in "Brother Rat"
Jane Wyman in "Brother Rat"
Rosalind Russell in "The Citadel"
Robert Donat in "The Citadel"
Ralph Richardson in "The Citadel"
Shirley Temple in "Just Around the Corner"
Preston Foster in "Submarine Patrol"
Jeanette MacDonald in "Sweethearts"
Nelson Eddy in "Sweethearts"
Minnie Dupree in "The Young in Heart"
• SWEETHEARTS— M-G-M
VICTOR HERBERT'S music, as melodic as the color
tones in which this extravaganza is filmed, sustains
a familiar story here. The newest of the Jeanette
MacDonald- Nelson Eddy pictures is a welcome ad-
dition to the list of their successes. It has beauty,
charm and great production and, in addition, a mas-
terly blending of yesterday's light-opera technique
with today's ultra-modern tempo.
In the story, Nelson and Jeanette are sweethearts
celebrating their sixth wedding anniversary and also
their sixth year as stars of a Broadway play named
"Sweethearts." Into this tranquil bit of happiness
comes Reginald Gardiner, agent from Hollywood,
who attempts to steal the pair for the movies from
stage producer Frank Morgan. When it appears they
are about to accept, playwright Mischa Auer steps
in with a bit of plotting that not only stops the Hol-
lywood plans, but causes the team to separate. Jean-
ette and Nelson go their separate ways until Auer's
machinations are uncovered and Morgan confesses
his part in the strategy. There is a happy quality
about the entire piece which may be sorely needed
amid the deluge of bleak pictures with a message
which Hollywood has produced lately and, as a re-
sult, you will remember especially the blithe man-
ner in which both Jeanette and Nelson handle their
assignments. Neither has ever been in better voice.
You will apprciate the work of little Terry Kilburn
who plays Jeanette's brother and you will like
Florence Rice as the faithful secretary. Director
W. S. Van Dyke is to be congratulated.
* THE YOUNG IN HEART—
Selznick-United Artists
"T
I HE Gay Banditti," a novel by I. A. R. Wylie.
introduces a wonderful family, who trot gaily about
the world hunting for people to cheat. Mr. Selznick
has made it all into a picture and. with the exception
that one is rather flooded with whimsey, he has done
a good job.
Roland Young is very well cast as the Pukka
Sahib, "late of the Bengal Lancers," who in reality
was born in Canada and learned about Sahibs from
his role in a roadshow. There could have been no
choice but Billie Burke for Ma rmy, the vague,
unmoral pretty mother. Janet Gaynor and Douglas
Fairbanks. Jr. are the offspring who busily do their
duty by searching out heirs and heiresses. At least,
they do until the Riviera police find them out. Then,
as they are on their way to London penniless, they
meet an old lady. Miss Ellen Fortune. There's a
train wreck and the banditti save the old girl's life.
In return she asks them to stay with her in London.
The rest of the story is that of the gradual decline and
fall of the banditti into sentimental and honest ways,
due to Miss Ellen's good influence. The Sahib gets a
job selling super-cars: Dov-i. Jr. gets a clerk's posi-
tion and his immediate superior is Paulette Goddard.
This, by the way. is Miss Goddard's second picture
and, although she has a cut-and-dried part, one still
feels she has not sufficient warmth. Doug. Jr. gives
the best performance of his growing Hollywood
career. Minnie Dupree is very sweet and sincere
as Miss Ellen and Richard Carlson does a nice job.
(Continued on page 81)
45
COVER THE
It's humiliatin'. Mickey Rooney's professional dignity takes a tumble
when he meets up with Virginia Weidler in "Out West with the Hardys"
EUROPE may be all worked up about what
Adolf Hitler will do next. But as far as
Hollywood and the rest of the world
concerned, the future activities of .-mother tough
little terror with the same initials are a darn
sie,ht more vital.
That's why we skip the million-dollar epics
on our monthly set tour to check first on one
Andy Hnrdy and the prospects of peace and
quiet in the movie world. They're not so hot,
we might as well tell you at once. But what can
you expect with Mickey Rooney tangling with
bucking broncos, cowpokes, red-eyed steers —
and deadly little Virginia Weidler?
"Out West With the Hardys," we understand,
doesn't make Mickey Rooney feel very happy
about the whole thing. Never before has
Mickey's professional dignity taken such a tum-
ble M-G-M has hired little pig-tailed Miss
Weidler to make Andy look like twenty cents
in every manly department of the Wild West,
including riding, roping, shooting and even
bragging.
Mickey claims such a humiliating breakdown
will ruin him with adoring adolescents the world
over. His shining car, fancy wardrobe, football
prowess and truckin' ability, says Mickey, have
made him hot stuff with the high-school kids.
He doesn't want to be exposed!
As usual, "Out West With the Hardys" con-
tains three distinct stories: Lewis Stone's busi-
ness deal, Mickey's boastful shenanigans and
Cecilia Parker's romancing. In each picture
one of them gets a break. This time it's Cecilia's
turn. Mickey's chief picture chore is to get pro-
gressively skunked by Jake (Virginia Weidler),
the little ranch girl.
We watch Mickey writhing on the spot as
Lewis Stone, in checked shirt, boots and som-
brero, accuses him of abandoning Jake to the
Fascinating as only movie news
can be is this month's digest of
the hijinks of the sound stages
BY JACK WADE
coyotes. Usually Mickey is smoothness itself —
he never forgets a line — but suddenly in the
middle of this scene he bursts out with a loud
guffaw.
The cameras stop immediately and everybody
looks Mickeywards, completely astonished.
"What in the world is the matter, Mickey?" asks
Lewis Stone.
"Haw, haw!" chortles Mickey, pointing to
Gordon Jones, the male lead and Cecilia's heart-
beat. "His stomach growled at me!" That
breaks it up for everybody, including us. We
cool off on the "Ice Follies" set next door.
"ICE FOLLIES" aptly demonstrates a new
trend in movie-making that we find growing in
Hollywood, spurred, no doubt, by the shortage
of pictures. That is, shooting pictures before a
cast, or even a story is ready. A trim little
fancy figure skater named Bess Ehrhardt seems
likely to have one of the dramatic leads as well
as the skating lead, with Joan Crawford as the
star of the picture. Bess, shapely and more on
the pretty side than Sonja Henie, glides, as the
prima ballerina, through a graceful number on
a vast indoor rink inside a Metro sound stage.
It's a startling set. Giant Indian totem poles
with brilliant thunderbirds tower over the ice
and brightly painted tepees line it. The skaters
whirl like golden birds in glittering Indian cos-
tumes. They can think of everything for the
"Ice Follies," it seems — except what to use for
a story.
I HINGS are very different, however, with Rob-
ert Taylor and Wallace Beery on the "Stand Up
and Fight" set. There's enough story in Bob's
third he-manizing picture to satisfy anybody.
Director Woody Van Dyke unspins it to us the
minute we enter the big colonial-tavern set
where Bob, in a high beaver hat, stick and fawn-
colored waistcoat is a sight — but hardly for sore
eyes.
"Stand Up and Fight," says Woody, is the
story of early scraps between stagecoach lines
and the pioneer railroads. The locale, Western
Maryland, has never been featured on the screen
before.
This, believe it or not, is Bob Taylor's twenty-
first picture part. It seems only yesterday that
he burst so suddenly into big-time fame.
UN the next set we visit, and the last place we'd
expect it, we encounter hostilities and plenty of
them. "Tailspin" at Twentieth Century-Fox, a
sort of feminine "Test Pilot," pits Connie Ben-
nett and Alice Faye against each other in a bitter
script rivalry for aviation honors and handsome
Kane Richmond. As we enter they're telling
each other off.
". . . selfish little heel!" cries Alice.
". . . cheap little chaser!" returns Connie.
Bop! Alice lets her have one. Smack! Con-
nie retaliates with a roundhouse left. They mix,
46
STUDIOS
Hank Fonda and Tyrone Power,
the famous brothers in "Jesse
James," come in for plenty of
personal Zanuckian attention
no holds barred, keeping up a running fire of
choice insults. When the hair is all pulled, the
clothes ripped and the breath gone, Roy Del
Ruth, grinning wickedly, waves each to her cor-
ner with his "Cut!"
When the gals drop, exhausted, and the
scene's in the can, Connie smiles wanly. "I hope
I didn't hurt you?" she asks Alice anxiously.
"Oh, a few teeth and my spare rib — that's all,"
laughs Alice. They walk off arm in arm, smiling
happily. The weaker sex — hey? Listen — neither
Connie nor Alice has had so much fun in weeks!
Nancy Kelly is booked with them in "Tail-
spin," but she's not around. That's not hard to
understand when we see her up the alley, a few
stage doors away, giving Jesse James a farewell,
ever-lovin' kiss before he goes to the jail-
house.
Nancy is Twentieth Century-Fox's new won-
der girl. Only seventeen, she's just about the
best actress on the TCF lot right now. The way
Darryl Zanuck is spotting her in his biggest pic-
tures spells only one thing — genuine stardom
and right away.
For "Jesse James" is Zanuck's epic of the
year, from the standpoint of filming time, money
and personal Zanuckian attention. It will nick
the stockholders for two of those millions the
Hollywood people mention so casually.
Zee (Jesse's lovin' wife, and also Nancy
47
Kelly) us m ■ clinch with Tyr. •■ mike
u^t brushing their hair. The
lender one, the voices low to low
that even the sound monitor protests We can't
: what they're saying, and we're prac-
tically elbow When Ty tries to make
it louder without stage-whispering, bis voice
slips Into one of those middle-register notches
and cracks tot mo squawk like a boy
That ruins the scene
but hands everybody s laugh, Including Ty.
bttt," he grins, "I am a man'"
They do it light next time, but before the
lis for B print a voice yells, "Give 'em
a lily meone to rush forward
With posies for Nancy and Ty. Instead, a camera
.rit holds a color chart before the still run-
ning camera. The film is in Technicolor, and
cm a lily," we learn, means give the
camera a color test! We're a little relieved, at
that, lor JeatC James with a lily in his hand
would be a little too much for us, at this point.
iROM Jes>e to Jascha is only a matter of two
or three miles and from horse pistols to a famous
fiddle is, of course, no trick at all in Hollywood.
trick, though, tu tit the great violin virtu-
oso tot I moving picture, if you consider
the headache facing Sam Goldwyn.
He had a contract with Heifetz at a fabulous
Moreover, it had a time limit. The time
limit was about to expire, but — here we go again
— no story! So what we see is Jascha fiddling
while Sam burns, but doing a very nice job of
it, of course. Both Jascha and Sam.
What interests us most about Heifetz is a little
thing we notice out of the corner of our roving
eye. We always thought geniuses (or is it
genii?) were strong silent men, individual, im-
perative, harking only to the Muse.
But after every take we notice Heifetz peering
across the sound stage at a beautiful woman who
sits quietly at his dressing-room door. It's Flor-
ence Vidor, his lovely wife. If she shakes her
head. Heifetz asks for another take. If she nods,
he says "Okay!" Yes sir, it's the little woman
who says what's what — even to a genius.
Our next stop is Columbia, the Gem of Gower
Street.
After Frank Capra makes a picture, Columbia
usually relapses into a state of economy coma.
But the instantaneous profits of "You Can't Take
It With You" have emboldened Harry Cohn into
another immediate A. He's shooting "There's
That Woman Again," a sequel to "There's
Always A Woman," with Melvyn Doug-
las again a private detective, driven to exaspera-
tion by an active but addlepated spouse. Joan
Bondell did the first one with Melvyn, you'll re-
PHOTOPLAY
BY G WENN WALTERS
This classic afternoon frock of heavy wine-colored crepe was created
for Carole Lombard by Irene of Bullocks-Wilshire. The flowing side
drape that cascades to the hemline lends striking contrast to the
pencil-slim silhouette of the frock. Lilly Dache designed a matching
draped turban of an interesting straw and wool mixture fabric and
Carole wears it with her most becoming "long" coiffure. Miss Lombard
is currently appearing in Selznick-lnternational's "Made forEachOther"
NATURAl COLOR PHOTOGRAPHY BY HURRELl
member. But this time, when Columbia touched
Warners for the loan of Joan, they said they
could use her themselves. So Virginia Bruce
got the nod.
Judging from the antics of Virginia and Mel-
vyn on the set, they shape up nicely as the top
screwball comedy team in town.
AROUND the corner, at Paramount, we run into
a real-life situation, on the face of things irra-
tional as the plot of "There's That Woman
Again." The first set we visit, "Ambush," taken
from the Liberty Magazine serial, features
Gladys Swarthout without a song to sing!
What's more, it's straight action melodrama,
jammed with wild rides, gangsters, cops, bank
robbers, kidnappers and gunplay. Now who
would have thought a Metropolitan opera star
would ever end up in a picture like that? The
only explanation we can offer is that Hollywood
is currently selling opera talent short.
Paramount is also busy with "King of China-
town," "Say It In French" and "Tom Sawyer,
Detective" all rolling at once.
A constitutional weakness for Mark Twain's
Tom and a desire to see Hollywood's latest pair
of Cinderella kids take us at once to the "Tom
Sawyer, Detective" set. Billy Cook as Tom and
Donald O'Connor as Huck have the biggest
chance of their young lives to turn into child
stars, if they cash in on their luck. ' Billy is the
son of a Stanford University chemistry instruc-
tor. Billy's mama gave him the choice of learn-
ing to act or washing dishes. He chose acting
and made a hit on the radio. Donald is a lucky
theatrical kid Director Wesley Ruggles dis-
covered one night at the Biltmore Bowl in Los
Angeles. They got the jobs when Paramount
couldn't persuade Mickey Rooney and another
young name star to fill the bill.
There's just time to lamp Olympe Bradna in
"Say It In French" before we leave the Para-
mount lot, so we duck in dangerously close to a
red shooting light where Ray Milland, Olympe,
Irene Hervey, Mary Carlisle and Janet Beecher
are throwing French fast-talk around so furi-
ously we get a little dizzy.
This one's a farce, as you might imagine. Rich
man's son Ray marries a French cutie in Paris
and brings her home, only to find his family
have arranged another marriage for vital busi-
ness reasons. So he poses Olympe as the maid
and gets engaged to Irene Hervey. Having your
wife around the house playing housemaid can
be a little awkward at times and that's where
the fun comes in. Especially when Irene catches
on and helps out with the grand illusion.
The main attraction on the "Say It In French"
set, to us, though, is Janet Beecher's blue hair.
Janet is the only woman in Hollywood with sky-
blue tresses. It all started as a mistake once
when a beauty operator spilled some blueing on
her head. Janet thought she was ruined for the
movies. But to her surprise, she photographed
a lot better. And she's kept it that way ever
since! But don't go round dipping your coiffure
in the inkwell — it might not work on everybody.
UNIVERSAL hasn't anything new to show us
this month, but we hustle out to the San Fer-
nando Valley anyway and on to Warners where
one of the most interesting pictures of the month
is just starting. We catch "Dark Victory" on its
opening day.
"I can hardly wait to get into this one," Bette
Davis, the star of the picture, tells us. And
Bette was the girl who said in court they were
working her too hard at Warners!
"Dark Victory" is the story of a modern
woman who faces blindness and death, conquer-
ing the fear of both by love and courage. Bette
plays the rich girl who marries ambitious doctor
(Continued on page 69)
Ray Milland and that little
French cutie, Olympe Bradna,
are the magnets that draw
our reporter to the "Say It In
French" set, but there he
finds still another attraction
A
■
*
WELCOME I
19 3 9
— pretty as a picture in a romantic gown
of pink slipper satin like this one worn by
Bette Davis, soon to be seen in Warners'
"Dark Victory." Tiny cartridge pleats re-
lease the fullness of the skirt, joined to the
fitted bodice ai a low waistline. The
clever pleats hold in the soft fullness
of appealing puffed sleeves. The gown
was selected from I. Magnin, Hollywood
—or greet it in regal mood in a sophis-
ticated gown of green and yellow gold
lame (right), chosen by Myrna Loy, M-G-M
star, vacationing at the present time.
The exquisite styling of the gown, also
selected from I. Magnin, Hollywood, re-
veals alternating treatmentof thedual-tone
ame, both in the horizontal-tucked bodice
i.
!
t^**
For opening day at the Santa Anita Races
Bette Davis, star of Warners' "Dark Vic-
tory," chooses this dressmaker ensemble of
soft rose tweed. Square carved wooden
buttons close the jacket which tops a long-
sleeved frock of identical tweed, trimmed
at the neckline with a matching velvet bow.
Note that the softly shirred blouse is
joined to the skirt at a high-curved waist-
line. Bette's high-crowned rose felt hat
with badger brush trim is a Galer crea-
tion. The costume-is completed with shoes
and bag of brown alligator. This ensemble
and hat were selected from the French
rooms of the May Company, Los Angeles
I
Lucky the lady who can fol-
low the sun and escape
dull wintry days in sport
clothes such as these.
Adrian designed Jeanette
MacDonald's slack ensemble
(opposite page) for her to
wear in M-G-M's Technicolor
production, "Sweethearts."
Easy fullness distinguishes the
action sleeves of the black
linen shirt which buttons to a
round neckline and tucks into
the corselet waistline of the
white linen slacks. Jeanette's
sombrero is of white baku
with a black linen bandana
crown. Her gauntlet gloves,
striped in red, lend a dash-
ing color note. Picturesque
clothes like these give fash-
ion interest to Palm Springs'
play spots, such as Smoke
Tree Ranch, El Mirador, Del
Tahquiti and The Lone Palm
For resort wear M-G-M's
Myrna Loy chooses a casual
coat of heavy natural linen
with patch pockets and roomy
sleeves, designed by Korn-
handler of Los Angeles. Front
panels curve at the shoulders,
the line followed by the
curved revers. Miss Loy's
hand-woven green and nat-
ural straw hat from the Baha-
mas ties under the chin,
coolie-fashion, with multicol-
ored raffia streamers. B e -
neath, Miss Loy wears a white
silk jersey frock with front
panel and sleeves of apple
green and white print de-
signed by Dolly Tree (sketch
above). Ensembles such as
Miss Loy's are often seen on
the terrace of the Arrow-
head Springs Hotel, Cali-
fornia ' s famous spa
atf -/((.JtiewA
^
*T*i
Midseason hats put all the emphasis on face value. June Gale and
Lynn Bari, of 20th Century-Fox's "Samson and the Ladies," pose
in perfect examples of this trend. Lynn (top) wears the Byron
"Sweetheart," which makes the most of your mouth. Try a brim
turned up steeply over a crown leveled off like a kepi and a dra-
matic veil drawn over all to call attention to your glamorous lips
June Gale (top, center) models the Roxford "Lucky." To empha-
size the dimple in your chin, pull on a severe tailleur shaped
to your head in back. Roxford styles this chic hat with a
pinched crown smartly stabbed by an antiqued gold dagger
Lynn Bari also wears the Byron "Duchess" (above, left). It drama-
tizes your eyes. Experiment with the effect of a brim pulled down
not too sharply but far enough to cast fascinating shadows over
your eyes. Note the fur pompon that underscores your coat trim
June (left) models the Roxford "Show-Off." This hat plays up your
profile. Outline your face against soft felt, with a high-sweeping
brim and crushed suede band to match your eyes. These hats may
be had in a wide variety of colors in the leading department stores
WHERE TO BUY THEM
The smart advance Photoplay Hollywood fashions
shown on these two pages are available to you at
many ol the leading department stores throughout the
U. S. right now. If you will wri'.e to the address given
below, sending description or clipping of the hat or gar-
ment, you will be advised by return mail where, in
your community, the item or items may be purchased.
These hats and garments come in all sizes and in all
popular shades. Address your letter to —
Jean Davidson, Fashion Secretary,
Photoplay Magazine, 122 East 42nd St., New York,
New York
THIS TAG IDENTIFIES
AN ORIGINAL PHOTOPLAY
HOLLYWOOD FASHION
LOOK FOR IT
Jean Rogers, petite 20th Cen-
tury-Fox player who will soon ap-
pear in "Inside Story," models
three stunning Jeanne Barrie*
evening gowns that you will find
in the leading department stores
throughout the country. You will
look as fragile as a Dresden doll
in this empire gown of cyclamen
chiffon (above). The softly
draped bodice, caught with an
antique jeweled brooch, is of
cyclamen, violet and orchid
Gold glitters on the v/ide suede
corselet that joins the sunburst
pleated skirt to the picturesque
"V" neck, short-sleeved blouse
of Jean's Schiaparelli blue crepe
dinner gown (above, center)
'
* Res V. S. Pal. Off.
A sparkling rhinestone girdle
defines the waistline of Jean's
black chiffon dinner dress with
short, full sleeves and deep
"V" neckline (above and left).
These lovely holiday gowns
may be purchased in all sizes
and a wide variety of colors
57
Sf/Z
\
.-,.-
A heavy crepe frock, topped by a
smart fur coat, is an essential
wardrobe requisite for wear this
month. Mary Carlisle chooses
such an outfit in the chic color
contrast of violet and black. Her
crepe dress, in two shades of vio-
let (the blouse is of lighter hue), is
worn with a seven-eighth length
black coney fur coat which boasts
broad shoulders and a collarless
neckline. Mary's eight -button
gloves are of deep violet — her
bag, shoes and hat, cunningly con-
trived of felt and velvet, are of
black. Edith Head designed
Mary's dress for her to wear in
Paramount's "Say It In French"
4
W H AT
HOLLYWOOD
IS
THINKING
The second in a series of the
frankest answers film stars ever
gave to a set of questions. Photo-
play dared thevt to tell what is in
their hearts. The dare was taken
BY MARIAN RHEA
IS Hollywood so busy it does not have to con-
sider the world outside studio gates? Is
Hollywood so ambitious it will not stop to
contemplate problems which have nothing to do
with picture-making but everything to do with
modern social welfare? Is Hollywood so ego-
tistical it cannot look beyond self to a broader
horizon of affairs political, economic and re-
ligious?
In the following article, the second of two
setting forth the results of a remarkable dare
which Photoplay made to Hollywood, is to be
found answer to each of these questions.
"We dare you, Hollywood," Photoplay said,
"to forget motion pictures and tell us what you
think about the fundamental problems of life
as it is being lived today!"
Hollywood accepted the challenge. Last
month, through means of a questionnaire cir-
culated by Photoplay among a large and im-
portant percentage of the four hundred stars
and other players under contract to the various
studios, and upon the promise of anonymity, it
told frankly and honestly what it thought about
such problems as romance after marriage, chas-
tity before marriage, love adjustments of all
kinds.
This month, through the same means, it speaks
its mind with equal forthrightness concerning
child rearing, sterilization, social theories, world
affairs and religion. And, as you shall see,
Hollywood neither is so busy, so ambitious nor
so egotistical that it cannot use its head actively
and for the most part, wisely. . . .
Photoplay's first question in this second
phase of its inquiry was: ''Do you, or will you,
refuse to have children because of an unstable
future9"
In answer to this, fifty-one per cent of the
women said no — several of them a vehement no,
their decision definitely colored by their re-
ligious scruples against birth control for any
reason.
"This is just an excuse to practice birth con-
trol," one actress wrote, flatly. "I believe that
parents with children usually can find ways to
provide for and take care of them."
"I should take a chance on the Lord providing
for my children — aided, of course, by myself and
my husband," said another young matron.
"If everyone waited for conditions to improve
before having children, the human race would
die out. There always has been something
wrong with the world!" said a third feminine
star in support of having children regardless of
political and economic hazards.
On the other hand, "Yes, I believe it is un-
fair to bring children into the world unless there
is a better prospect than at present that they
shall survive. Poor little things, they don't ask
to be born!" declared one of the feminine ad-
vocates of birth control because of a doubtful
future.
And, "I refuse to produce cannon fodder!"
wrote another, an important star, married but
childless.
Of the women refusing to have children under
these circumstances, two-thirds were married.
Of those in favor of having children, regardless,
two -thirds were unmarried.
A considerably larger per cent of the men —
eighty-four per cent — believed this modern
world safe for children.
One wrote: "Our ancestors didn't worry about
every little thing!"
"We are getting too picayunish about this and
that, these days. I say go ahead, have your
families, do the best you can by "em and let
nature take its course!" declared another. A
large majority of men belonging to this school
of thought were unmarried.
Of the sixteen per cent refusing to have chil-
dren because of unsettled conditions, all were
married and many of them gave danger of fu-
ture wars as the reason for their stand.
"I was a soldier. I wouldn't raise a kid to be
the same for all the tea in China!" announced
one, vehemently.
r hotoplay's second question was: "Do you ad-
vocate sterilization of mentally unfit persons?"
To this, eighty-seven and one-half per cent
of the women and ninety-four per cent of the
men said yes.
"Certainly I believe in it!" wrote one feminine
starlet, still in her 'teens. "My father was a
disabled American War veteran and most of my
life has been spent near army hospitals, where
the need for stopping perpetuation of hereditary
disease of body and mind cries out on every
side!"
Emphatically, yes!" said another. "This talk
about violation of personal rights is a narrow
and selfish attitude which should have gone out
with witchcraft and snake doctors."
*0MAH
One feminine dissenter said, however, that
such is the miracle of modern medicine that
the unfit person of today may be cured tomor-
row.
While endorsing sterilization in greater ma-
jority than the women, the male supporters
were, in the main, pretty cautious about it.
"Yes, but with strong legal safeguards." said
one young star.
"Yes, but only when there is absolutely no
chance for improvement." was the vote of an-
other.
Most of the small percentage of men who de-
clared themselves against such a measure 5aid
they thought it too final ar.d irrevocable to be
arbitrarily enforced upon socie-
examination before marr.-.je. instead, and pre-
vention of marriage among the physically and
mentally unfit-1" several suggested.
Turning, then, to once
upon a time the ccr.- - of
I Cot- •
59
CORRIGAN lands
IN HOLLYWOOD
"Wrong V/ay" Doug lost his direc-
tion on another path, only to discover
that all roads lead to film tow n
BY EDWARD DOHERTY
DOUGLAS "WRONG WAY" CORRIGAN.
He flies to California and lands in Dub-
lin. He flies toward Dublin, across the
briny deep, and lands smack on a moving-
picture lot in Hollywood.
He puts a couple of candy bars and a five-cent
package of cookies into the pockets of his leather
jacket, gets into his silver ship and makes a
three-point landing on the silver screen.
He's the first important Hollywood star to
crash the movies in a plane. And though he's
making his first — and maybe his only picture —
it is probable he will prove a box-office star.
Doug Corrigan had three ambitions when he
was a little boy. One was to be a pitcher for
one of the major league teams. Another was to
be a locomotive engineer. And the third was
to become a moving-picture actor.
He lost his direction on all three of these
paths, got lost in the clouds and went the wrong
way. But he got to Hollywood just the same.
He didn't realize that all roads lead to Holly-
wood.
He fell and broke a leg when he was a child
in San Antonio, Texas. He went to work selling
papers shortly after that. His father had de-
serted him and his mother, his little brother and
sister and Doug had to help out, so there wasn't
much time for playing baseball.
He learned, in a desolate moment, that a man
had to be a fireman and shovel coal into the
engine for hours at a time before he could be-
come a railroad engineer. He realized he could
never do work like that. He was too slight. His
leg bothered him too much. And he had no
ambition to throw coal on a fire so many hours
a day. So he gave up the idea of becoming an
engineer.
His mother kept a roominghouse in San An-
tonio, but after the war conditions were bad.
It was hard to make a living keeping roomers.
So she went to Los Angeles with her children,
hoping to find conditions better there.
Doug had turned his face toward a moving-
picture career even before he arrived in Holly-
wood.
He had seen moving pictures, quite a few of
them, in the days before his father left. And
he had one big shining idol. Douglas Fairbanks,
Senior.
Doug Corrigan's real name was Clyde Corri-
gan. He was named for his father. He changed
his name after he learned that his father would
never come back.
"My mother never quite forgave my father,"
he said. "She didn't even want to hear his name
mentioned. My name was the same as his and,
naturally, every time she heard my name, she
thought of him. It was she who decided I must
change my name."
Doug thought of a lot of names, but when his
mother casually mentioned Douglas Fairbanks,
the boy didn't have to hesitate any longer. He's
(Continued on page 86)
The world called Doug a hero. U
saw in him the tame rare qualities
— shyness, resolve, courage — that
had molded his idol, Lindbergh
NDBERGH'S
MOVIE CONTRACT
$1,000,000 for one picture was
the offer made to America's great-
est hero, who accepted, and then —
BY MAJOR THOMAS G. LANPHIER
SUPPOSE you were in your twenties — and
in Hollywood.
You had never acted before — not even in
a high-school drama. You had not had so much
as a screen test. You didn't know whether you'd
photograph. You didn't know whether you'd
be able to act at all. You already had a career
in which you were interested and in which you
seemed on your way to success.
And then they pushed it into your hands. A
contract. A very fat contract. To do one pic-
ture for Metro-Goldwyn-Mayer Corporation.
To make it even more enticing, the picture
was to be a history of the industry you had
turned to for your career.
For this one picture, you were to receive one
cool million dollars in cash and ten per cent of
the gross receipts of the film.
Would you sign the contract?
Easy, now. This is no fantasy invented to
amuse you. It's the story of an incident that
really happened. It's the story of a lank, blond-
haired young man and a moving-picture con-
tract. If the young man signed the contract, he
became worth more than one million dollars.
That young man was Colonel Charles Augus-
tus Lindbergh, freshly returned from his epochal
New York-to-Paris flight and in Hollywood, at
the moment, on his good-will trip around the
United States.
Young Lindbergh did what, I think, you also
would have done.
He signed the contract. It was a contract with
William Randolph Hearst to make a picture of
aviation from its beginning down to his historic
transatlantic hop.
While in Los Angeles, Lindbergh was the
guest of the movie colony at Hollywood. Be-
cause of his tremendous popularity, numerous
offers to enter the movies were made to him.
He rejected all of them, until Mr. Hearst of-
fered him this million-dollar contract to do an
aviation spectacle for M-G-M.
Lindbergh signed that contract. But, though
he had committed himself in writing to make the
picture, it was never made. Had it been, Amer-
ica's hero might, conceivably, have become,
overnight, the greatest box-office attraction in
the history of the film industry. And Charles
Lindbergh's whole future might have been
drastically changed.
Instead . . . but here is what happened.
On Lindbergh's return to New York, his
friends learned what he had done. They felt he
was making a mistake by branching away from
his chosen career — aviation. Though Lindbergh
had signed the picture contract without con-
sulting his advisors, he was stubborn about it.
He refused to give up his plans; to attempt to
break his contract.
He was determined to make the picture and
his advisors could do nothing with him.
That is where I was brought into the situa-
tion. I had met "Slim" shortly after his return
from Paris while I was acting as Commanding
Officer of the First Pursuit Group stationed at
Selfridge Field, Mt. Clemens, Michigan.
I had led a squadron of twenty-four army
pursuit planes to Boiling Field to escort Lind-
bergh and his Spirit of St. Louis to New York
City for the huge "welcome back" demonstra-
tion there.
Since that meeting we had become rather
(Continued on page 85)
"Lindy" had just made his
epochal flight in "The Spirit of
St. Louis" (above). The movies
wanted him. He turned down
numerous offers until . . .
Right, with Louis B. Mayer,
whose studio planned a film
on the history of aviation
61
THE CASE OF THE
HOLLYWOOD
SCANDAL
Murder will out — and so a thrilling mystery
reaches a climax of revenge and romance
BY ERLE STANLEY GARDNER
author of "The Case of the Shoplifter's Shoe"
I WAS plunged into the mysterious case of
the Hollywood scandal when the secretary
to Lawyer William Foley was injured in a
hit-and-run accident. As Mr. Foley's new sec-
retary, my first duty was to execute a secret
legal contract between talent promoter Frank
G. Padgham and one Carter Wright; my second,
to deliver the contract that evening to an ad-
dress where Foley and Padgham would meet
me.
I found the house unlocked. There was no
answer to my "hello." As I stepped into the
hall I became conscious of a thumping noise
up-stairs. Investigation proved that it was Bruce
Eaton, my favorite movie star, bound and
gagged. Quickly, I released him. On the pre-
f Retting drinks to steady our nerves, he
.> pea red.
In reaching for my brief case, I found a key
which had apparently fallen from Brucc's coat.
Pocketing it, I started for the stairs. It was
then that I discovered a man sitting at a desk,
his head slumped over. He was — dead!
Suddenly, without warning, every light in the
house went out.
I groped for the stairs. A bell shattered the
Mr. Foley and Frank Padgham, I
it with relief. But it was Padgham —
alone I explained what had happened — about
the dead man and the lights. I didn't tell him
about Bruce Eaton, however. Padgham sug-
i that I wait in his car while he investi-
Halfway to the car I remembered the
brief ease which I had propped against the wall
when I opened the door to Padgham. I ran
back and got it.
At the corner drugstore I tried to telephone
n H<- wasn't listed in the phone book,
-" I called his agency. I Impressed upon them
the Importance "f Bruce Eaton's calling me in
the morning at the law office of William Foley.
As I was returning to the house, an automo-
bile swung around the corner. It was Mr Foley.
Hurriedly, I climbed into the car and told him
my experience. He instructed me to go back
to the drugstore and ask the clerk to notify po-
lice headquarters.
When I returned, I handed the brief case to
Foley. He opened it, then looked at me with
questioning eyes.
The brief case was empty.
MORNING papers brought the first definite in-
formation about what had actually happened.
Carter Wright, chauffeur to Charles Temmler,
had been found murdered in the Temmler home.
I was the subject of an intensive search. When
I arrived at the office I discovered that my desk
had been rifled and my notebook taken. Be-
fore I could tell Mr. Foley, Frank Padgham
came in and, while he was closeted with Mr.
Foley, Bruce Eaton called. We made a luncheon
appointment, at which time I was to return the
property I had found.
During the morning, a woman in the late for-
ties came sailing into the office and announced
herself as Mrs. Charles Temmler. She ex-
plained that Carter Wright had stolen a key to
a safe-deposit box at Las Almiras in which her
husband had legal papers. It was important for
her to get the contents of that box. It was
registered in such a way that whoever had the
key had access to the box. She wanted Foley
to get the key from the coroner. He refused,
of course, and Mrs. Temmler left in high dudg-
eon. It was then that I realized the full im-
portance of the key that I had found the previ-
ous night.
When I met Bruce Eaton, he apologized for
his behavior of the previous evening and then
asked abruptly, "How about that property of
mine? You have it?" I started to hand the key
to him and then, in a bantering tone, I told him
he would have to identify it. To my amazement,
it wasn't the key he asked for, but — his stickpin!
During luncheon Bruce told me the whole
story of his part in the previous night's affairs.
Woodley Page, an old friend of his, was being
blackmailed. Charles Temmler had obtained
-sion of some incriminating letters; his
chauffeur, Carter Wright, had stolen them;
Frank Padgham had been delegated to get them
back: Bruce had gone to the Temmler house to
protect the interests of his friend; there I had
ILLUSTRATED BY MARIO COOPER
found him, the victim of an unknown assailant.
When he had finished, I pushed the key across
to him and told him about the lockbox. A
shadow fell across the table — it was the detec-
tive who had interrogated me in such a suspi-
cious manner during my first day in the office.
He reached for the key but Bruce held fast. A
scene ensued. I rushed for the phone to tell
Mr. Foley of this latest encounter.
When I returned, the detective was gone and
Bruce suggested that we leave immediately for
Las Almiras. There was a lone cashier in the
bank and Bruce had no difficulty in getting ac-
cess to the box. After what seemed an inter-
minable period, 1 heard him slam shut the door
of the box. At that moment a car slid to the
curb — a police car. I called to Bruce to hurry.
The banker became suspicious and I saw hiir.
reach for his gun. As Bruce rushed out, the
officers were rounding the corner. The cashier
pulled the trigger but the jar of the recoil jerked
the gun from his hand. As he stopped to pick
t>2
"You lie," Mrs. Temmler screamed and, jerking herself free of the officer who was holding her, made a wild rush for the door
it up, I grabbed the letters and dropped them
into a lunchbox on the counter.
The officers poured through the door. "The
jig's up," the sheriff said.
DRUCE EATON stepped forward and said, "I'll
take the entire responsibility for this."
The man with the big hat answered, "Oh, you
will, will you?"
"Yes, this young woman has nothing to do
with it."
The bank cashier said, "Don't let them fool
you. It's a well-planned holdup. They put on
the act together and. . . ."
One of the city officers interrupted, "Good
Lord, that's Bruce Eaton, the actor!"
"Actor nothing," the bank cashier protested.
"They tried to hold me up. That man's no more
Bruce Eaton than I am. He's a stick-up artist.
If they hadn't jerked the gun out of my hand,
I'd have had them. But one of them knocked
the gun out and. . . ."
One of the city officers laughed an interrup-
tion, "Bruce Eaton isn't going around sticking
up banks."
"I tell you they tried to stick me up," the
cashier protested, doggedly. '"This man walked
into the bank and, while I was waiting on him,
this woman came in and stood at the counter.
I asked him if she was with him and he said
he'd never seen her before. Then when you
gentlemen drove up in your car, she started
yelling at him and ran around behind the coun-
ter. I figured she was handing him a gun. I
knew right then it was a stick-up and yelled
at them to stop. She kept right on coming
and. . . ."
The sheriffs cold eyes fastened mine in cyni-
cal appraisal. "How about it?" he asked.
I said, indignantly. "I was simply trying to
get the man's autograph. You can imagine my
surprise! I dropped in here to try and cash a
check. I noticed someone was back in the vault
with the cashier. Then I suddenly realized
who it was. Do you think I'd pass up an oppor-
tunity like that? Why, when I go back and tell
my roommate about having been in a country
bank at the same time Bruce Eaton was there,
her eyes will stick out a foot. Naturally, I
wanted his autograph. I felt, under the circum-
stances, he wouldn't hesitate about giving it to
me."
The officers exchanged dubious glances. I
could see that the cashier's excitability and his
hysterical gunplay were putting him on a spot.
Bruce Eaton said, calmly, "Well, it's been
rather an exciting experience, Miss . . . what's
your name?"
"Miss Bell," I said, "Claire Bell."
"It's been quite an experience,-' he said, smil-
ing. "I've had autograph hunters pursue me
before, but never under quite such unusual cir-
cumstances. Perhaps, if you're going my way,
you'd care to accept a lift back to Los
"I'd be delighted," I told him.
(Continued on page 17)
63
CHOOSE THE BEST PICTURE OF
Each year Hollywood watchrs for PHOTOPLAY'S
Gold Medal Award. Once again our readers
are invited to select the winner. Vote now!
THIS is the nineteenth time we have asked
our readers to vote for "The Best Picture
of the Year." We know you will vote with
your usual enthusiasm and judgment for the
picture produced during 1938 which, to your
mind, had the most superb story, casting, direc-
tion, acting and photography. We will then
present to the studio which produced that film
the most distinguished award in the motion-pic-
ture business, Photoplay's Gold Medal.
Despite the acrimonious controversy that has
raged this year about pictures and picture per-
sonalities, no one can honestly say that the stu-
dios, particularly in the last six months, have not
earned the right to say in truth, "Motion Pic-
tures Are Your Best Entertainment." It is well
to remember, however, that you, the public, are
judge of what is a good picture. Here is a way
to register your opinion . . . Do you want to
cry at the movies? Do you want to smile and
forget there might be a world in which laughter
comes but seldom? Do you want homespun
stories that dramatize the daily lives of us all
... or do you want high-spirited tales of
knights in shining armor toting off their lady
in ;i shower of arrows? Do you want
• of hurricane, fire, flood and wind to sweep
you off your feet? Do you want musical comc-
opera, dancing delights or crime stories?
All these sou have had this past year. If you
■ r the picture you liked m 1033, the pro-
will know what type of picture to make
in IS
in remember all the pictures he
saw during the past year, we list below some of
the outstandini e, does not
permit us to list all the fine pictures, so. if your
particular favorite is not here, vote for it any-
Therc ire no rules to this contest You either
fill out the ballot printed here for youi
venience. or write your choice on a Blip of paper
and send it to the Gold Medal Editor, Photo-
play. 122 East 12nd St . New York City,
and ' arefully counted, the picture
that wins the most I I
This shining medal (a facsimile of which ap-
sbove) i^ a symbol of achievement, and
as such is vied f"i by all the Hollywood studios.
There la no board of Judges You are the judge
and the jury What UNU the be: t picture of
? You know. Vote for it!
64
/93%
PREVIOUS
GOLD MEDAL
WINNERS
1920
"HUMORESQUE"
1921
"TOL'ABLE DAVID"
1922
"ROBIN HOOD"
1923
"THE COVERED WAGON"
1924
"ABRAHAM LINCOLN"
1925
"THE BIG PARADE"
1926
"BEAU GESTE"
1927
"7TH HEAVEN"
1928
"FOUR SONS"
1929
"DISRAELI"
1930
"ALL QUIET ON THE
WESTERN FRONT"
1931
"CIMARRON"
1932
"SMILIN' THROUGH"
1933
"LITTLE WOMEN"
1934
"THE BARRETTS OF
WIMPOLE STREET"
1935
"NAUGHTY MARIETTA"
1 936
"SAN FRANCISCO"
1937
'CAPTAINS COURAGEOUS"
OUTSTANDING
PICTURES OF
1938
Alexander's Rag-
Letter of Introduction
time Band
Lord Jeff
Adventures of
Love and Hisses
Marco Polo, The
Love Finds Andy
Adventures of Robin
Hardy
Hood, The
Mad About Music
Adventures of Tom
Mad Miss Manton
Sawyer, The
Mannequin
Algiers
Man to Remember,
Amazing Dr. Clitter-
A
house. The
Marie Antoinette
Angels with Dirty
Men with Wings
Faces
Merrily We Live
Arkansas Traveler
Of Human Hearts
Blockade
Rage of Paris, The
Bluebeard's Eighth
Rebecca of Sunny-
Wife
brook Farm
Boy Meets Girl
Room Service
Boys' Town
Shopworn Angel,
Bringing Up Baby
The
Brother Rat
Sing, You Sinners
Buccaneer, The
Sisters, The
Carefree
Slight Case of
Citadel, The
Murder, A
Cowboy and the
Snow White and the
Lady, The
Seven Dwarfs
Crime School
Sweethearts
Crowd Roars, The
Submarine Patrol
Dawn Patrol
Suez
Drums
Test Pilot
Four Daughters
Texans, The
Goldwyn Follies,
That Certain Age
The
Three Loves Has
Girl of the Golden
Nancy
West, The
Three Comrades
Gunga Din
Too Hot to Handle
Happy Landing
Toy V/ife, The
Having Wonderful
Valley of the Giants
Time
Vivacious Lady
Holiday
Wells Fargo
If I Were King
White Banners
In Old Chicago
Yank at Oxford, A
Jezebel
You Can't Take It
Joy of Living
with You
Just Around the
Young in Heart, The
Corner
Yellow Jack
PHOTOPLAY MEDAL OF HONOR BALLOT
GOLD MEDAL EDITOR
PHOTOPLAY MAGAZINE
CHANIN BUILDING, 122 EAST 42nd STREET,
NEW YORK CITY
In my opinion the picture named below is the
best motion-picture production released in 1938
NAME OF PICTURE
NAME
ADDRESS
Cal York's Gossip of Hollywood
(Continued from page 43)
Paging Mr. Chamberlain
DON'T believe all the Hollywood feuds
exist only between the fair sex; oh. no.
Two of movies' huskiest villains have
maintained a pout at one another since
the days when Barton MacLane and
Charlie Bickford were actors on Broad-
way.
Fortunately, the two never came into
contact until the Universal picture,
"The Storm" (and what a fitting title),
and then things happened.
The script called for a fight and each
husky he-man threatened to annihilate
the other.
The publicity boys looked forward
gleefully to the fracas as a great source
of ballyhoo, but the studio itself, a little
alarmed at the enmity, feared trouble.
So the scene was called for a Sunday
Vhitney; right, Irene
ica dance-conscious
Mystery of the Month
ALL of a sudden, and out of a very cle;
sky, Hollywood husbands are behavii
themselves for the cameramen. Hithe.
to, husbands of famous stars did a quit
fade-out when the boys, headed by oij
own Hymie Fink, would approach f J
pictures.
Then came a swanky premiere. Fii ]
to appear was Myrna Loy with her p
ducer-husband. Arthur Hornblow.
"Won't you pose with Miss Loy
once?" the cameraboys asked, me
as a routine question.
But imagine their amazement v ,
Mr. Hornblow very readily agreec
walked back to his car. holding '
Loy's arm, so the boys could get
view of their walking in.
In fact, one photographer was sc
prised he forgot to load his camera
was almost too overcome to shoo
picture when Mr. Hornblow offer*
make the walk from car to th
entrance all over again.
Encouraged, the boys next trie
Griffin, husband of Irene Dunn'
almost always eludes the photogr;
To their complete amanemer.
Griffin consented, graciously posi
the boys several times.
Courage mounting still furthc
photographers decided to crac
hardest problem of all — Dr. Joel
man with his wife, Claudette C
Having permitted Dr. Pressman t
the theater without asking for p
they now trudged down the aisle j
seat.
"Sure," he smiled, "go ahead
It was almost too much,
the cameraboys are wonderi
husbands have decided to ru
new leaf, once and for ali, o
it was just a good night for hT
Every Dog Has His Day
nHEN it came to selecting a dog to play
with her in "Dark Victory." Bette Davis
went to the bat for her favorite pooch —
a setter belonging to her sister — not
one of the show dogs, you understand,
but one her sister claims is about the
scrubbiest dog in the kennels. And since
the canine has never worked before a
camera, everyone is looking for some
fun — except Bette's sister!
Russell Touch on a Resolution
ROSALIND RUSSELL, whose English-
made film, "The Citadel." is a great hit.
is still groggy over the British methods
of movie-making.
"After Hollywood, where one talks
pictures twenty-four solid hours in a
day and to the exclusion of all else, I
found the subject strangely ignored
after working hours," she says.
" T wonder if I did that scene just
right today?' I asked an English co-
worker one night at dinner.
" 'Oh. by the way,' he answered, "what
about the tennis matches at Wimbledon
next week? You're going, aren't you?'
"At first, I tried to talk shop after
hours to everyone on the set and got in
return discussions of English gardens in
the spring or the possibility of war. So
I finally gave up and. strangely enough,
most of my physical tiredness and nerv-
ous tension disappeared.
"I've returned with a new resolution:
no talking shop after working hours.
Not even to myself. I don't care how
lonely I get"
to1
Cary
was off to"
bicycle-built-f?
At Kansas Cit
Doug (about
"Well, the old handle
It was still on. in modifie
Grant hit New York and tf
shores of England. So Doug
bet. By the way, guess what
brought back to Phyllis Brooks, his
and only girl friend.
Phyllis received several sets of old
English glass for her bar and some
lovely brasses for her fireplace. And,
what's more, she was more pleased than
if Cary had brought back a diamond
mine. Whatever are these modern girls
coming to?
Man the Boards, John
No actor who works with him ever
sees Barrymore's eyes." a director de-
clared. "They are always fastened on
that dialogue blackboard from which
John reads his lines. He reads them
with more expression in words and
eyes, with more freshness and spontan-
eity than any other actor on the set. I
don't care who it is.
"He's the envy of every actor who
works with him. Apparently he does
less to prepare himself for the role than
anyone in Hollywood. And always ends
up with the most finished performance.
"That is being an actor in every sense
of a word, even if the word is written
on a blackboard. In fact. I'm convinced
what this town needs are more black-
board readers like John Barrymore."
65
re*
[LAY%
L
ou re going
do last year
'you were too busy
11 about them. And
f to your heart, of course,
ks and your personality,
stars feel just the same way.
aking beauty resolutions for the
These resolutions should be yours,
they are.
tta Young was very firm about her
ty resolution. She said, "I resolve not to
fear my hair up no matter how many other
women do so or how many hats are made for
it. I'm going to stick with the hair-do that
looks best on me because I think that the really
chic woman is the one who studies her personal
requirements and enhances them."
Hollywood is about evenly divided on the
subject of hair up or down. Many of the stars
compromise by wearing the long bob during the
mg it high for evening. Gloria Stuart,
for one, likes the "upped" hair-do and finds it
most becoming. Her beauty resolution con-
cerns it. too, because she thinks that earrings
are ah ressity to take away that "bare-
faced" look, so she's going to increase her col-
lection of earrings.
Lor i tement that the smart woman is
the one who sticks to her type at all times was
borne out by several other stars, too. Barbara
Stanwyck is one who says she won't be swayed
by the current craze for furbelows. "I'm the
tailored type. I can't wear anything fancy. I
just look overdre tsed and I feel silly, so all my
dothea arc going to be very simple and plain.
The only fad that I do yield to is the fad tot
tricky jewelry. I love costume jewelry, but I
shall show restraint even in that. One interest-
ing piece is enough. If I'm wearing a tailored
66
A pioneering spirit is indicated by
Anne Shirley (above) in her New
Year's resolution, while Gale Page
jabove, right) has an age-old prob-
lem to conquer. Costume pictures
taught Olivia de Havilland (right)
a lesson she'll profit by next year
suit, which I generally am, I wear a simple lapel
ornament; or a lovely necklace with an evening
gown."
Rosemary Lane has decided also that she will
not be swayed by the decrees of fashion. "If
they aren't becoming to me, and I feel that I
don't do justice to them, I'm not going to take
them up. I'm just going to be honest and natu-
ral and, at all times, myself. But don't get me
wrong — I'm going to give every one of the new
whimsies a try, to see if they will be becoming
on me. But if they're not, then nothing doing."
Anne Shirley's going to try everything new,
too.
At least once a month she's going to try a
new make-up or hair-do because she feels that
only by experimenting can a person discover
what's most becoming to her.
"From past experience I know better than to
make the kind of resolution that ties me down
to a daily task," said Joan Blondell, when I
asked her about her resolutions, "because I'm
thoroughly unhappy until I break it. But I do
resolve to change my personality several times
during the coming year. To me, the whole se-
cret of beauty is change. A new appearance
may not be a vast improvement over the old, but
at least it's different and it buoys up the spirif.
A girl who neglects changing her personality
gets stale mentally as well as physically. So
I'm going to vary my hair style, my type of
make-up, nail polish, perfume. I'm even going
to change my toothpaste and mouth wash so I'll
start the day with a completely different taste in
my mouth."
Joan Bennett and Gloria Stuart, setring a 1939 high for blonde
beauty, are trying out a new form of charm insurance — a
beauty resolutions policy that pays heavy male dividends
If you get bored with yourself at times, let
your resolution be to do something about it.
Experiment with new makeups, change your
hair style and make yourself over into a new
person.
A new make-up is even better for your morale
than a new hat, so take yourself in hand because
you can be just exactly whatever you want to
be— if you'll just take the time and the trouble.
Ginger Rogers doesn't overlook the impor-
tance of perfume in her beauty resolutions. "I
like delicate and elusive fragrances rather than
heavy musty odors and I*m going to collect a
lot of different scents this year. I already ha /e
several perfumes but I don't think you can
have too many because you should vary your
perfume with your clothes and your mood of
the moment."'
Anita Louise is going to form the habit of
spraying her hair with fragrance for evening,
because she's found that this method cf apply-
ing perfume is the most lasting and the least
obvious.
"Malted milk three times a day," sighed Joan
Fontaine when I approached her.
"I'm practically wasting away to a shadow,
and that's my way of gaining weight. I'm so
busy remembering to drink it that that's prob-
ably the only resolution I'll find time to keep."
D \LE PAGE is another girl who considers
beauty quite a "weighty" matter. I know
that's bad, but I really couldn't skip it.
"I resolve this year," said Gale with grim de-
termination in her voice, "to keep a daily watch
on my weight and do something about it the
minute the scales tip an ounce in the wrong
direction."
When Gale started her movie career the first
order she received was to reduce because of the
camera's deviltry in adding poundage. So she
did it by stringent diet and exercise. All very-
well and good, but, when she made a trip to
Chicago, she put all the weight back on and
had to go through the same stringent routine
when she returned to Hollywood.
That is the reason, she confessed, for the grim
determination when she says, "Now I know a
daily morning weighing is the only way to keep
painlessly slim. And. so help me, the minute I'm
over one hundred and fifteen pounds. I'll go on
a buttermilk diet until I'm back to my standard."
Irene Dunne's fondness for driving in open
cars all year round brought on her 1939 beauty
resolution. "I resolve to do something definite
about the depredations of the wind this year,"
she told me. "I'm going to use a moist founda -
tion for make-up and when I come home from
a ride I'm going to take off all my make-up
with a liquid cleanser and then use a softening
lotion.
"And I'm not going to forget to wear glasses
in the car and bathe my eyes when I come out
of the wind to prevent them from becoming
bloodshot. I'm going to protect myself from
overexposure to the wind."
A good tip for you to follow, too, because
winter winds can be most unkind to your skin
by drying it and causing little lines.
BETTE DAVIS realizes that there is great
beauty in serenity and she determines to relax
more during the coming year. Ann Sothern,
too, resolves to achieve the gift of relaxation
and rid herself of the tenseness that is the usual
result of motion-picture work. Here's how
she's going to do it: "I will rise half an hour
earlier and arrive at the studio in a leisurely
manner. I will not rush home and I'll take a
short nap before parties, premieres or lengthy
social events of any kind. Every two weeks I
will spend the greater part of a day in bed,
reading or just resting."
Joan Bennett, too. knows of no better aid to
fresh, vital appearance than relaxation and
serenity and she's going to abolish calisthenics
and find more time to play tennis and badmin-
ton and go swimming.
She's going to get a lot of sleep and worry less
and laugh more, and stay out in the open air
as much as she possibly can. That, from
the standpoint of health, as well as beauty, is
one of the wisest resolutions any woman can
make.
Penny Singleton says she wants to form the
habit of using two powders. The blend of two
shades, one deeper than the other, gives the
skin a depth of tone and is more lasting. The
first powder should be the lighter shade and
the second in a deeper tone, giving warmth
to the skin.
Try it and see if you don't get a better effect,
too.
Both Phyllis Brooks and Olivia de Havilland
are resolved to improve their walk and their
posture. "I'm going to study ballet dancing all
through the coming year." Phyllis said. "My
mother think's I've too much of an athletic stride
for the screen. As a matter of fact, she occa-
sionally refers to it as a lope.' I know this
would never do when I come to that super-
scene that's sure to find me descending a marble
staircase swathed in ermine. So I'm getting
ready!"
Olivia's experience in recent period pictures
which required heavy and cumbersome cos-
tumes has taught her how necessary' it is to walk
gracefully and have a correct carriage at all
times. "In 1939," she said, "I resolve to bicycle
an hour each day. I bought a bicycle this year
and was surprised to learn how much cycling
can do for one, besides being a lot of fun. It's
my favorite form of exercise and daily cycling
is the best thing in the world to insure a graceful
and correct posture at all times.
"So. no matter how tired I am, every single
day, for one hour, I'm going to go bicycle riding."
lO make regular use of a mild beauty mask
before I go out evenings," resolves Wendy Bar-
rie. "This is as important for young faces as
for any because it stimulates and freshens the
skin for special occasions when one wishes to
look one's best.
"And I'm not going to hurry my make-up.
I'm going to take plenty of time to use a beauty
mask and be sure that my make-up is on evenly
and smoothly."
And we can't forget the importance of using
a good hand lotion every time you wash your
hands and of remembering to smooth a soften-
ing cream into your elbows as consistently as
you use it on your face.
Resolve, too, always to wear a fresh make-up.
Keep some cleansing cream and facial tissues in
your desk at the office so you won't have to keep
adding new make-up on top of the old. Try
always to have a supply of fresh powder puffs
on hand.
Soak your fingernails in warm olive oil two or
three times a week to soften the cuticle and keep
your nails from splitting. And resolve to brush
your hair every- single nigh- to keep it soft and
shining. You'll find that this is definitely a most
effective compliment-catcher.
And I hope that 1939 will be thi
and happiest year you've ever hud: that it will
bring you new loveliness and ci.arir an i. most
of all, your heart's desire.
67
FIN* IS FINE
J: i>f com]
fin.
and fan-lure
iccellent
which ii Fink must be a whi/
at the shutter. I. to
n all points of photography
That short hit about photography advice l>> Mr
Fink should !>■ department In
your !■ ih portraits
and activities of the students at this colle]
American Indians, the only college for Indians
in the world.
I'm positive that any advice from Mr. Fink
would hi' worth while Why not think it over?
Incidentally, I'm thinking of enlarging my attic,
in order to find more room to store away PHOTO-
whieh I have bought for yi
Edmund C. Shaw,
ine College, Bacone, Oklahoma
tppreciate Reader Sliaw's praise and trust
he icill be pleased to see the neir department,
"Maries m Your Home." on Page 10. This will
be on occasional feature and any camera addict
should find many new pointers which will be
helpful.
P.S. — Mr. Fink is a whi: at the shutter.
EASY COME. EASY GO
IES, Hedy Lamarr is gorgeous and glamorous,
but can she act? All she did in "Algiers" was
look alluring in close-up after close-up and
certainly that's easy enough with her glorious
face. Of course, one must admit that she re-
acted nicely to Charles Boyer's passionate
glances, hut who wouldn't? No, unless Hedy
can prove that besides her haunting loveliness
she can also act. she will be doomed to failure,
for the public is tired of "glamour girls" and
their eternal posturings and posings. Dietrich
it and Garbo's appeal is certainly on the
wane, so if Miss Lamarr has nothing to offer us
but her exoticness, she too will fade into obscur-
ity, for, to be an actress, one must be more than
just "a thing of beauty."
Margaret Lemworth.
New York City.
■ 'hotoplay announces: beginning with the January issue, prises will
no longer be awarded for letters appearing on this page. Unfortunately,
some of our readers have not played fair with us, inasmuch as they have
submitted and accepted checks for tellers which have won prizes for them
in other magazines. On the other hand, many of our readers have looked
upon this as a contest department and for that reason have failed to send
in their spontaneous and candid opinions concerning the motion- picture
industry, its stars or pictures. It is our aim to give the public a voice in
expressing its likes and dislikes concerning this great industry. This is
your page. We welcome your views. Photoplay reserves the right to use
gratis the letters submitted in whole or in part, fetters submitted to any
contest or department appearing in Photoplay become the property of
the magazine. Contributions will not be returned. Address: Boos and
Bouquets, Photoplay, 122 East 42nd Street, Mew York, N. Y.
Hedy Lamarr's next picture will be "I Take
This Woman" with Spencer Tracy and Walter
Pidgecm at M-G-M. tlie studio which lent her
out to Walter Wanger for "Algiers." The direc-
tor is Frank Borzage, the man who was respon-
sible for Janet Gaynor's sensational work in
nth Heaven" in 1927 — the picture, you re-
call, which really made Miss Gaynor a star. As
for Miss Lamarr's acting, it is hard to judge from
one picture. Shall we give the gal a chance'.'
RULES FOR WRITING TO A STAR
I'VE long enjoyed your magazine and look upon
you as a true friend. I am a star's secretary,
which is why I m u'ully withhold my
Every year a new crop of fan-mail writ-
Si Sap i I'm sure that many of them
a few pointers. Hire they are: please write
legibly print the name and address if your
handwriting isn't legible and don't squeeze
your name and address into one small corner.
I relief it is to see a typewritten
turn up'
• n't write fi\ • Iters, if your
handwriting isn't legible Please write in ink
•me a long way and are so pencil-
red when thej arrive at the studio they are
practically Illegible
Please put your address on the letter itself
and not refer the reader to the envel
Please write a letter, if possible, and not a
card. The cards come in with postmarks all
over the back and front and often it is impos-
Most Talked-of Comeback of the Year — Lew Ayres'! "Holiday"
started him on the upgrade; "Cousin Henry" in "Rich Man,
Poor Girl" added momentum; then — the first of a series of star-
ring pictures, "Young Dr. Kildare" (above), with Lionel Barrymore
sible to make out names and addresses because
of this.
Please don't ask the star to do you a favor.
He can't get you a job, nor can he get you into
the studios to look around, much as he would
like to help you. Don't pry into his private life,
tell him all your troubles, or ask for his home
address.
Most of the mail is very nice and interesting
and both my employer and myself enjoy reading
it, but some of it isn't, hence this letter. Thank
you for your time and trouble.
Private Secretary,
Hollywood, Calif.
DOUBLE. DOUBLE. TOIL AND TROUBLE
OINCE the early "nickelodeon" days, I've been
an avid moviegoer. I've seen two and sometimes
three pictures a week. I'm quite in accord with
the slogan "Motion Pictures Are Your Best En-
tertainment"— but, now I'm through. When the
double-feature nuisance came into being, I be-
gan shopping for my movies, only to find that
this !;• d either a 5:30 dinner, hurriedly
eaten (in order to be at the theater by 6: 10), or
losing a couple of hours' sleep because the sec-
ond show wasn't out until midnight. Then
came Bingo, under the various titles of Screeno,
Bank Night, or what-have-you. That, I could
avoid and did, but it meant that I often missed
a picture I very much wanted to see. But now
an even more deadly menace is rearing its head
— stage shows, and theater managers have the
effrontery to tell you (and right in the midst of
the "Motion Pictures Are Your Best Entertain-
ment" campaign) that they are trying to bring
back vaudeville.
I don't want vaudeville; I don't want Bingo;
all I want is one good picture an evening. So,
I'm through until theater owners and managers
get back to the fundamental purpose of a
motion-picture theater.
Gretchen Manning,
Pittsburgh, Pa.
This brings to mind another problem — that of
change of titles. After the studio has exploited
pictures for montlis under one title, it is confus-
ing, to say the least, when one keeps looking in
the newspapers for a picture to come to town,
only to find out it's been in town the week be-
fore under another title. Has this bothered
you? If so, can you think of a solution?
(Continued on page 75.)
68
We Cover the Studios
(Continued from page 48)
George Brent, finds she has one year to
live and spends it spurring him on at
the expense of her doomed spirits. It's
the heaviest role Bette has ever at-
tempted, next to Of Human Bondage."
We sit on the sidelines with Bette
while George Brent struggles through
the opening-day jitters in an all-male
doctors' scene. After a series of dis-
heartening breaks before the camera,
George says, "Excuse me, gentlemen.
I'm sorry.'' Then he walks across the
stage and sits in his chair, alone and
mad at himself. Nobody can help him;
it's just one of those opening-day things.
He'll be all right after a while.
We can't resist asking Bette how about
her personal future, especially since her
separation from her husband, Harmon
Nelson, took place between "The Sis-
ters" and "Dark Victory.''
Very frankly she tells us there's ab-
solutely no other man and no other in-
terest unless it's her work. And the
biggest effect the split-up has had so
far is a deeper devotion to work. "I
live it now," says she.
"And that's no figure of speech." It's
true. Warners gave Bette Kay Francis'
gorgeous bungalow, when Kay bowed
off the lot. So, when the marriage divi-
sion happened. Bette moved into the
studio bag and baggage! Now, during
the filming of "Dark Victory," she eats
and sleeps there. And the rest of the
Warner stars are getting the same idea.
Paul Muni is moving into the studio for
his next picture and several others, too.
are following Bette's lead.
It's a great idea, but we hope it doesn't
spread over Hollywood. What would
become of all the swimming pools?
nND now we will look over the stars in
the radio studios. With NBC opening a
brand-new, bigger and better apple-
green broadcasting studio at Sunset and
Vine and Columbia's new plant keeping
the air crackling a block down the
street, Hollywood is now in radio for
keeps — and vice versa.
The air is full of stars and the stars
are full of — well, call it eloquence. At
any rate, where one Hollywood program
failed to return to the ether this season,
three new ones popped up. The Radio
scene shifts around quicker than a
Notre Dame backfield and what do we
have1? Well—
For one thing, we have Bill Powell
running Hollywood Hotel and the best
news item of the month is that Bill's
health is standing up under radio per-
fectly. He likes it: it likes him. His
friends are urging him to give up mak-
ing movies entirely, to concentrate on
radio, have more fun out of life, live to
a ripe old age and make just about as
much to put in his piggie-bank.
Charles Boyer has taken over Tyrone
Power's dramatic spot on the Woodbury
Playhouse. What's more, Charles is
carrying on the Power tradition of or-
chids for the leading lady each week.
Gail Patrick, Olivia De Havilland and
Maureen O'Sullivan have got 'em so far.
The best remark we ever heard about
Boyer was a romantic little Radio ex-
tra's sigh — "That guy." she heaved, "has
menace in both eyes!" His voice is the
same way. Better fill up on Charles.
He leaves the air in a few weeks and
Ty comes back.
Bing Crosby's return from Bermuda
deserves a paragraph. Bing left for the
island with twenty-five trunks. He came
back with thirty-eight! He bought every-
thing in the joint, including British walk-
ing shorts for his whole band. Now you
How Well Do You Know Your Hollywood?
John Payne in "Wings of the Navy"
TEST your memory of the pictures
that Photoplay selected as the most
outstanding of the year 1933. Give
yourself five points for every one you re-
member correctly. The score should be
at least eighty for a seasoned movie-
goer. Check up on page 82.
1. Herbert Marshall played a super-
crook in "Trouble in Paradise." The two
women in the film were:
Kay Francis Leila Hyams
Elizabeth Allan Miriam Hopkins
2. In "Night After Night" a new star
was born:
Katharine Hepburn Mae West
Barbara Stanwyck Lupe Yelez
3. Richard Dix was the pioneer in
"The Conquerors." The wife who helped
canking business was:
Ann Harding Loretta Young
Irene Dunne Diana Wynyard
4. In "The Animal Kingdom" Leslie
Howard's wife was played by:
Nancy Carroll Dorothy Jordan
Myrna Loy Ruth Chatterton
5. The De Mille spectacle. ' The Sign
of the Cross," gave this actress a chance
as Nero's consort:
Bette Davis Claudette Colbert
Elissi Landi Evelyn Brent
6. "Rasputin and the Empress" fea-
tured John, Ethel and Lionel Barrymore.
Which one of these actors played the
Cl3'?
Alexander Kirkland C. Aubrey Smith
Monte Blue Ralph Morgan
7. The father in "Cavalcade" »a::
Clive Brook Adolphe Menjou
Ronald Colman Alan Dinehart
8. The children of Will Rogers in
' S-ate Fair" were played I
Lew Ayres Janet Gaynor
Norman Foster Sally Eilers
9. The role of M. Topaze in ' Topaze"
was played by:
John Barrymore Mouricc Chevalier
Dick Barthelmess Fredric March
of
10. Sweeoings' was
a disillusioned fa-
Henry Trovers Lionel Barrymore
Lewis Stone Henry Stephenson
11. In "Today We Live," Gary
Cooper and Franchot Tone were in love
with this girl during the war:
Constance BennettMary Brian
Carole Lombard Joan Crawford
12. The venal politician who became
President in Gabriel Over the White
House" was played by:
Edmund Lowe Walter Huston
Clark Gable George Bancroft
13. In the comedy, Good Bye
Again," this comedian got his first big
role:
Hugh Herbert Robert Young
Jack Oakie Charles Ruggles
14. You remember S
"Voltaire," but who was Mme. Pompa-
dour?
Adrienne Ames Norma Shearer
Marian Nixon Doris Kenyon
15. "Morning Glory" lifted Katharine
Hepburn to new heights as the stage-
• qirl who fell in
Joel McCrea David Manners
Douglas Fairbanks, Jr. Cary Grant
16. The man who got the chance to
live his life over again in "Turn Back
the Clock" was played by:
Lee Tracy Paul Lukas
Warner Baxter Rod La Rocque
17. 'Three Cornered Moon" was one
of th; the screwy family pic-
tures. Mary Boland was the crackpot
--• her daLrj-
Bebe Daniels Claudette Colbert
June Collyer Constance Cummings
18. Three of these *ere
Charles Laughton's wives in "The Private
Life of Henry VI
Binnie Barnes Merle Oberon
Greta Nissen Wendy Barrie
19.
men loved Fay Wray. She married Neil
Hamiu -vas:
Gary Cooper Nick Stuart
Ricardo Cortex James Dunn
20. ' Lady for a Day" was about a
blowzy old apple-selling woman. Apple
Helen Westley May Robson
Marie Dressier Louise Dresser
bhould see 'em — especially Man Mountain
J. Scott Trotter! On Bing's first return
program he arrived at the mike wearing
a vivid map of the Caribbean and the
Atlantic Ocean for a shirt. It scared
Bob Burns off to Hawaii, where he's
vacationing now.
Lux Radio Theatre, like the brook,
runs on forever. They have the right
microphone menu, the best scripts, the
biggest stars— and C. B. De Mille. C. B.,
incidentally, is casting most of the ra-
dio steadies in his next epic, "Union Pa-
cific."
We caught the Lux air edition of
"Seventh Heaven" the other night and
saw Jean Arthur and Don Ameche run
over and stick their noses in a piano in
the middle of the show. How did we
know a mike was underneath? They
talked through the piano strings for that
echo effect you heard.
ALONG Radio Row, the Hollywood
Headlines are these:
Texaco Star Theatre is a solid hit, but
suave Adolphe Menjou can't help
truckin' when Jane Frohman sings . . .
Eddie Cantor's next Deanna Durbin
may be Betty Jaynes . . . Gracie Allen
came back from New York with a
trunkful of screwy hats . . . Claire Tre-
vor's new husband, Clark Andrews, is
producing her air show, "Big Town."
He and Eddie Robinson warble old col-
lege songs at rehearsal — it's awful . . .
Fanny Brice is on the war path for peo-
ple who spell her name "Fannie" . . .
Every week Frank Morgan and Fanny
do the Lambeth Walk to a raucous ac-
companiment by Merideth Wilson's band
the minute "Good News" goes off the
air. You miss it, but the audience gets
a good laugh. . . .
Joe E. Brown was burned up all last
fall because his new show came on Sat-
urday and he couldn't watch his son,
Joe L., do his football stuff with the
U.C.L.A. team . . . Frances Langford.
who's tiny, got ten pounds more fat and
sassy on her honeymoon, while Jon Hall,
a moose, faded fro a shadow. He's at
every Hollywood Hotel rehearsal, be-
cause they're still very much in love! . . .
Bob Young and Allan Jones have
reaped plenty of business for their Bel-
Air riding stables from those radio
comedy plugs on "Good News" . . . W.
C. Fields never takes off his hat or re-
moves his toothpick during the whole
"Hit Parade" . . . Grover Jones, the
movie-writing fellow, is doing the script
for Rosalind Russell and Jimmy Stewart
on "Silver Theatre" . . . Jimmie Fidler
will break a broadcasting record when
he gossips over both NBC and Colum-
bia any day now. . . .
Dorothy Lamour is now third in rec-
ord playings over the air. The Chase
and Sanborn hour did it. First is Bing
Crosby; second. Nelson Eddy . . . Jean
Hersholt sketches everybody on the
"Doctor Christian" show . . . Edgar
Bergen is rhumba-mad. A brave gen-
tleman, Edgar — he tossed a party the
other night and invited all his girl
friends — Andrea Leeds, Anita Louise,
Nancy Carroll and so forth. Charlie
McCarthy, by the way. now has a tailor
working overtime sewing him up a new
wardrobe for practically any occasion
you can imagine. . . .
But the best for the last — The Judge
Hardy Family will soon be on the air —
intact — if present plans go through.
Metro-Goldwyn- Mayer may put Mickey
Rooney. Lewis Stone. Cecilia Parker and
all the rest on radio each week with a
typical Hardy escapade. And how
would you like that?
69
Mama Is in the Movies Now
pO0< f'l
. the
film : .p in for their
: that
a honey of a littlr queen, maul
:u-d tn.pfi i .■ certain
I who had
1 ,1 thi- t.ilk, went in
i\d found bar to bia
liking So hi told hi In- would like to
put h r in th
. ! : ■
.•. Ith Daman it, bare 1
'. like Clin ago and
,1 also the magi
in. holds my hand.
me in the eye, and says: How'd
in the movies? I'll gel
\ou in ' I laughed tiv,ht in hi.s fact' and
I'll n t how droopy poor Bill
d when I told him I was over five
and to trj another line."
Ellen preferred to believe another fel-
L-e-looking young chap who
in the movies, too. after a fashion.
His name was Fred Wallace and he was
ke-up man. He didn't tell her she
ought to be in pictures. He said he
thought he had never met a more
wholesome-looking girl in his life. The
time he saw her, he told her he
would like to take her out. And two or
three weeks later, he told her he would
like to marry her.
This was the type of line which ap-
d to the girl and, when he proposed
to her again, she said yes.
OO the girl who was then Terry Ray
became Mrs Fred Wallace and a year
or so later Skipper arrived — he has no
other name. It was then that she re-
membered Bill Demarest who had tried
to prove to her that he was interested
in her only as a client. She was getting
pretty tired of sitting around the house,
BO she decided perhaps there was a place
for her in the movies.
Demarest gave her a script to read
and a few days later she went through
the terrifying experience of giving an
audition. "I honestly didn't care much,"
Ellen confesses, "because I couldn't be-
lieve there was anything I could do ex-
cept perhaps get on as an extra or some-
thing. So I didn't take the audition
seriously and it didn't scare me. I guess
my mood was the luckiest thing for me
because they were so impressed they
signed me up without even making me
take a screen test."
And that, briefly and simply, is how
Terry Hay. who was renamed Ellen
Drew, went on the salary list of Para-
mount.
They tossed her small morsels at first.
A bit in "Yours for the Asking," an ex-
tra part in "The Return of Sophie
Lang." a few lines and a few gestures in
Wife " But fantastic re-
sults were noted. The bit player was
ing fan mail. And susceptible
young men from Texas and from Illi-
from Montreal and from Mi
writing in. asking for information
about that pretty girl with the airy
maimer.
ihe Paramount ax-
il d perhaps there ■•■
deal more to this Ellen Drew who
IIO( a chit of a child — and decided
[Tied to an
important role in Sing. You Sun
The reward came in hundreds of ap-
proving fan letters and warming n ;
dial i Ellen Drew, it
ledded, was just the gill to share
A new Photoplay department — giving
tips and advice hot from the Holly-
wood lots — tor a!l amateur movie-
camera enthusiasts who want to buy,
make and show their own home movies
BY JACK SHER
^^LL of a sudden this country has
j \ become camera-conscious.
^^^^\ Every time you stick your face
out of the front door, you are pretty
certain that your head is going to be
snipped at the neckline and recorded on
film for posterity.
Every day more people are buying
sound and silent motion-picture cam-
eras and projectors. Consequently.
Photoplay proposes to devote space in
this and future issues for you who are
taking part in this 16mm industry.
This month we are reviewing some
short films, giving you news on equip-
ment and telling you where you can
purchase these things. Next time, we
will give you advice from expert direc-
tors and cameramen.
We are lucky in being able to start off
during a month of plenty, and when
we say plenty we mean that this month
is packed with late pictures for 16mm
which have never been on the market
before.
First on our list is a football short,
nicely put together and breathless, a
Castle Films production, entitled "Foot-
ball-1938." In this film are action shots
from all the big games which have been
played so far and it will be a swell help
to you in recording games in the future.
It's in one reel and cheap, too.
Pathegrams have just released two
"town studies": one, "Dynamic New
York," the other, "Historical Washing-
ton ." Both of these one-reelers are
beautiful photographic jobs, particu-
larly the New York film, which sur-
passes anything we've ever seen Holly-
wood take of Bagdad On The Subway
This same company has proven that a
film can go educational and still keep
you on the edge "f your seat with their
one reeler called "Millions of Fish it's
a study of the sardine industry from
i to plate These three film
in both sound and silent edit i
If you are well stocked on shorts and
led in getting a very unusual
picture, have a look at the first full-
Ipi UCIaA CujUaJI
length picture made specifically for
home consumption, "Pinnochio," a
16mm sound movie made by a fellow
in Hollywood named Bresler. Bresler's
second eight reel 16mm is also almost
finished. It's called "The Return of Rip
Van Winkle." You'll probably be able
to get it soon after you read this.
TOLITICALLY speaking, there is some
exciting stuff on the market, too. Cas-
tle Films are releasing a film called
"Czechoslovakia." Garrison Films have
just released those splendid films pro-
duced by Frontier Films, "Heart of
Spain," which rents for $10; "People of
the Cumberland," which is $7.50; "China
Strikes Back," which rents for $10. Gar-
rison also is releasing for rent the one
reelers, "Germany Invades Austria," for
$1.00, and "Austria Vanishes," for $2.00;
the Gilbert Seldas film, "Towards Un-
ity," for $1.50.
The Christmas season is the time to
stock up on the excellent cartoons
which are old but good. Eastman Ko-
dak has the Disney "Silly Symphonies";
Gutlohn and Film Exchange, as well as
Bell and Howell, have a large stock of
Christmas shorts. All at very reason-
able rates. Castle has produced a spe-
cial holiday short called "Christmas
Cartoon." It's better than the usual run
of film of this type.
Winding up this month's releases are
two more Castle Films, "Sahara," and
their monthly newsreel, "See No. 6,"
which has fine aviation sequences and
some shots of lumberjacks in action.
ItlANY Hollywood cameranien are now
using the new Cine-Kodak focusing
finder. It slips inside the camera just
as a film magazine does and with its
magnifying eyepiece an exact focus can
be obtained regardless of lens combina-
tions used. A new Dust -off Photo
Brush is just out and is a honey for re-
moving dust without scratching cam-
eras, lenses and film. The Fisher Film
Cement Pen you'll find handy for edit-
ing film. And have a look at the new
Wonderlight enlarging bulb for 16mm.
li ames.
Cameraman O'Connell, now at work
on a Warners' Technicolor epic, has de-
\ iaed an ingenious sun mirror, made of
a pane of glass backed by black paper.
It cuts down cloud glare about 65'
according to exposure nn
The films mentioned above can be
bought at department stores or at your
own camera shop.
the feminine lead in "If I Were King."
Following that, so it was hinted to me,
the girl who handled cash in Chicago
and sold candy in Hollywood might be
elevated to full stardom.
It's enough to scare the living day-
lights out of a young housewife with a
three-and-a-half-year-old son — and an
overwhelming awe of glamorous ladies
like Merle Oberon and Joan Crawford
and Myrna Loy.
LLLEN DREW, who is earning a nice
three-figured weekly salary and will in
time leap into the four-figured class, has
no elaborate home, no swimming pool,
no tennis court, riding horses. Not even
her own estate.
With her husband and Skipper she
lives in a rented house in Cardi.T Ave-
nue on the fringe of Beverly Hills with
two cars — one of which is a battered
but gay little Ford of 1931 origin— the
other, a cheap popular make, purchased
a year ago.
"How," I asked, "does your husband
regard your career? Wouldn't he pre-
fer to have you stay home and run the
house?"
"Heavens," exclaimed Ellen, "where
do you get the idea I don't run my
house? I most certainly do — before and
after studio hours. And sometimes be-
tween. No, there has never been an
argument between Fred and myself
about my being in the movies. We just
don't discuss it at all. That's safest,
don't you think? I don't tell him what's
happened in my studio — and he never
bothers to tell me what's happened in
his. He's not jealous of me — and, bless
his handsome soul, I'm never jealous of
him."
Did I remember to say that Ellen
Drew's fine little nose is tiptilted like
the Maid of Astolat's, that her brown,
soft hair hangs in seductive ringlets?
Sometimes — at a quick glance — she has
a resemblance to Phyllis Brooks.
She has no preference in literature
and makes no pretense at being just too,
too devoted to Baudelaire, Chatterton,
Edna St. Vincent Millay, Proust or
Sterne, but she has read a few stories
bv Edgar Alian Poe and a book entitled
"David Copperfield" by Charles Dick-
ens. Ellen likes the light reading in
magazines or a good modern novel.
She can't recall a single outstanding
adventure in all her twenty-four years
of life. No escapes from near death-
no threats from irate wooers — not even
a slip on the ice. It has been an un-
eventful life with no extraordinary
hardships. The fact that she had
stepped out of a candy store into mar-
riage and motherhood and then driven
down to an agent and had her naive re-
quest to be placed in the movies ful-
filled does not seem eventful to her.
Nor that within a comparatively short
time she has leaped from obscure bit
parts into featured roles with stardom
poking out an invitation for her to grasp
— that was the way it was destined, if
you believe Ellen Drew.
"You do," I commented for want of
something better to say, "smoke a great
many cigarettes, don't you?"
"Yes," she said. "I guess I do. But
I never smoke in front of Skipper. And
Skipper — never smokes in front of me!"
The young man who had sat quietly,
looking out upon the waters of the East
River under our windows, spoke up.
"Miss Drew," he said with something
of awe in his voice, "has a grand sense
of humor. Don't you think?"
70
BY ON YOUR LUCKY MIL
BEFORE YOU BUY
w£ %$#2<f fawT-fta* £%0O0/%&4s
Created to cover your nails smoothly with only I coaf
instead of 2 . . . makes nails gleam like sparkling gems.
At last, a cream nail polish of enduring
loveliness ... a polish that goes on in
one smooth coat... and stays perfect for
as long as 7 days! But how is this pos-
sible? Because Lady Esther scientists
created this new polish to resist crack-
ing, chipping, peeling ... to keep its lus-
trous finish days longer. . .to win alluring
beauty and distinction for your hands.
But Lady Esther presents more than
an amazing new nail polish. She brings
you an entirely new way to buy polish
... a way that makes sure you will find the
one lucky flattering color for your nails.
Try on before you buy!
Haven't you often found it annoying
when you try to select your nail color
in the store? You pick up bottle after
bottle, study color charts, ask the sales-
girl for advice. In the end you choose a
color that you hope is right . . . but
when you get home and try it on, the
chances are it looks entirely different
on your nails! Your money is wasted
and your finger nails fail to sparkle
the way you expected.
How to find your lucky color
But now— before you buy— you can find
the one enchanting color that will give
your nails and hands streamlined ele-
gance, flatter them beyond belief, and
harmonize irresistibly with your clothes.
And how do you do this? You cut out
the Lady Esther "Color Tips" below-
fit the colored part over your nail and
use the white tabs to hold it in place.
Women themselves voted this the easiest
and best way to find their one lucky
shade. It is the winning way perfected
by Lady Esther to end guesswork and
disappointment ... to save polish, time
and money ! . . . You'll want to start
right now— so try on these "Color Tips"
at once and don't stop until you've found
the one glorious color that's lucky for
you! Then put the tab in your purse as
a reminder to buy Lady Esthers 7-Day
Nail Polish the first time you're shopping.
^
10c
CUT OUT THESE LUCKY "COLOR TIPS" and try them on your finger nail until you
find your most flattering color. Cut on the dotted lines. IMPORTANT NOTICE— THESE "TIPS" SHOW COLOR ONLY—
NOT GLOSS. Prepare for still another thrill when you see how the real polish gleams with brilliance printing cannot equal.
*
ffcfal I9BB, Lady Esther Ltd.
CLOSE UPS OF
HOLLYWOOD
DIRECTED BY GWENN WALTERS
n
LIGHTS! ACTION! CAMERA!
I AST month your Fashion Editor felt gay and
frivolous and brought you, instead of her
^^m usual fashion letter, a surprise package in
the form of a Hollywood production which gave
you, not only fashion high lights, but also a key-
hole peek into the careers of famous designers.
This month I am again forsaking my fashion
letter to add "Part Two" to last month's pro-
duction, so that I may continue my story of
outstanding designers who, like Galer-Ains-
wortfa and Voris, have combined courage and
Vision to win recognition in the fashions of the
commercial and motion-picture worlds alike.
Quiet, Please! Roll 'em!
Close Shot: Irene of Bullocks-Wilshire — on
mi admission a career girl "by mistake" —
her chum decided to go to designing school and
she just tagged along! Fade Out.
Fade In: Time — present. Place — Hollywood.
iw the leading custom designer of the
but I assure you that is no "mistake."
To her salon in Bullocks-Wilshire the illus-
trious flock for the ultimate in chic — Los
Angeles and Hollywood Blue Bookers, the wives
and daughters of Hollywood producers and di-
uch well-known stars as Norma
Shearer, Carole Lombard. Paulette Goddard,
Dolores Del Rio, Virginia Bruce. Loretta Young,
Claudette Colbert, Joan Bennett and so on and
PHOTOGRAPHY BY HYMAN FINK
on. Irene also designs screen clothes for motion
pictures — her most recent assignment was the
wardrobe for Virginia Bruce to wear in the
Hal Roach production, "There Goes My Heart."
Irene's clothes are individualized by perfec-
tion of line, subtle color contrast, rich fabrics
and intricate dressmaker details. They are cos-
tumes of unassuming elegance!
This season, Irene features, as usual, her
famous three-piece suits in plain or contrast
woolens — classically draped and molded black
silk jersey frocks — tailored dressmaker dinner
suits styled of rich brocades and velvets — lus-
cious feminine evening gowns interpreted in
souffle, jersey, taffeta, crepe and lame, each
model scintillating like the perfection and color
of the jewels that Irene uses for inspiration!
Fade out.
CLOSE SHOT: Joseff— who started his costume
jewelry enterprise with one rhinestone bracelet
"for rent." Fade out.
Fade In: Time — present. Place — Hollywood.
Today Joseff has over a thousand pieces of
jewelry rented to the studios at one time (and
thousands more filed away in drawers for im-
mediate call) and each piece of his own making,
for Joseff is the creator of the only costume
jewelry designed and made in Hollywood!
He works closely with all the studio designers
In planning distinctive jewelry which corre-
sponds to the mood of their modern creations
— he makes authentic reproduc-
tions for their historic costumes.
Nearly all the costume jewelry
that flashes from the screen is
rightfully credited to Joseff.
He also creates jewelry for the
personal wardrobes of such fa-
mous stars as Carole Lombard,
Myrna Loy, Alice Faye, Norma
Shearer, Jeanette MacDonald,
Janet Gaynor, Constance Bennett
and many others.
This season he has made a real-
ity of a long-cherished ambition!
For the first time, he has repro-
duced his cinema jewels and
offered them to the public. (You
will find them in the leading de-
partment stores throughout the
country.) Fade Out.
CLOSE SHOT: Willys— who en-
tered the hosiery business via the
"grease paint route." He sold
hose to stars on the sets between
scenes while working as an extra
in pictures. Fade Out.
Fade In: Time — present. Place — Hollywood.
Today Willys has the distinction of being the
sole hosiery stylist for stars as w-ell as studios.
Willys is pictured here with Edward Stevenson,
designer for RKO Studios — they are discussing
hosiery styles to be worn in the forthcoming
RKO production, "Beauty For The Asking."
Willys creates the styles of his hose as well
as their colors. A few of his innovations, made
universally popular by the stars of Hollywood,
are the complete sandal foot hose, first created
for Dietrich — the ombre (two-tone) hose also
designed for her — complete lace heel and toe
hose created for Ginger Roger's dancing feet —
peek-a-boo hose (toes cut out to vie with open-
toe shoes) styled for Lily Pons — and on and on
indefinitely.
The most outstanding hosiery color idea con-
ceived by Willys was the lipstick hues that
matched the lipsticks of a famous Hollywood
cosmetic house. To these rosy hues he added
a wide range of pastel tints and Willys gave
Hollywood the first gayly colored hosiery for
evening wear.
Willys' star clientele, of course, includes the
top names of the cinema industry.
Willys indicates the Hollywood hosiery trends
of style and color.
When you "stocking-shop," you're bound to
find your purchases influenced by the inspira-
tion of his genius. Fade Out.
Print Them! That's All For Today!
72
*ss&
They're beautiful-adored-
they use a simple, inexpensive
Complexion Care
«Wi
Here's IDA LUPINO, charming
screen star, using Hollywood's
favorite complexion care. "Let
me give you a tip," she tells you.
"Really lovely skin makes any
girl attractive! Screen stars use
Lux Toilet Soap because its
ACTI\ E lather removes cos-
metics thoroughly."
9
Bewitching JOAN BLOX-
DELL, Warner Bros. star.
"Foolish to risk the dullness,
tiny blemishes, enlarged
pores that may mean Cos-
metic Skin," she tells you.
"I always use Lux Toilet
Soap. Its ACTIVE lather
leaves skin soft and smooth."
Here's LORETTA YOUNG, star
of 20th Century-Fox's "Ken-
tucky," ready to protect a mil-
lion-dollar complexion against
choked pores. "Use cosmetics, of
course, but before you renew
make-up — ALWAYS before you
go to bed — use Lux Toilet Soap,"
she says. "It's an easy care that
leaves skin smooth."
If
IO Screen
JAN UARY. 1939
73
I y wood's Unmarried Husbands and Wives
(Continued from page 23)
I ml. i the
unique li : t M..
couldn't h
Bob bought tlu- . Ct to Bar-
bara's ranch. Hi- started putting up a
ne'i throw
of hi ought hones. He
. minute of his span- time working
on t! night, he turned into
in the middle
of it all, 1 .J to England, the
work L Barbera ■uper-
I it Wbili
i the thing! she knew he wanted.
aw the decoration and fur-
ni. hmg of the piece. It was all ready
when Bob came home.
Bob's house and Barbara's house
stand now on adjoining knolls. The oc-
cupants ride together and work together
a-id play there together in their time
Bob trained and worked out for
"The Crowd Roars" on Barbara's ranch.
Almost every evening, after work at the
studio or on the ranch, he runs over for
a plunge in her pool.
If it isn't fight night — they've long had
permanent ether at the Holly-
wood Legion Stadium — or if they're not
asked to a party — they're always invited
together, just like man and wife — they
; a quiet evening together at either
one or the other's place.
Or if Bob has a preview of his picture,
Barbara goes with him to tell him what
she thinks of it, and vice versa. Bob
Stella Dallas" four times. Once
he caught it in London and bawled so
copiously that when he came out and a
kid asked him for his autograph he
couldn't see to sign it! But he was a
long way away from Barbara then.
When he's home, he's a little more
critical. But never of Barbara's ice
cream. Bob has never forgotten his Ne-
braska boyhood ecstasy licking the
dasher of an ice cream freezer. That's
why Barbara whips him up a bucketful
every week, before they roll off to see
the folks.
All in all, it's an almost perfect do-
mestic picture. But no wedding rings
in sight!
Even gifts and expressions of senti-
ment take on the practical, utilitarian
aspect of old married folks' remem-
brances when these Hollywood single
couples come across. Just as Dad gives
Mother an electric icebox for Christmas
and she retaliates with a radio, Bob
Taylor presents Barbara Stanwyck with
a tennis court on her birthday, with
Barbara giving Bob a two-horse auto
trailer for his!
I HE gifts Carole Lombard and Clark
Gable have exchanged are even more
unorthodox. Whoever heard of a wom-
an in love with a man giving him a gun
for CI Or a man, crazy about
• glamorous, sophisticated
and clever women in the land, hanging
a gasoline scooter on her Christmas tree!
For Clark, Carole stopped, almost
overnight Hollywood playgirl.
People arc expected to change when
they get married. The necessary adap-
tation to .1 n w life and another per-
sonality shows up in every bride and
groom. All Clark and Carole did was
strike up a Hollywood twosome. No-
body said "I do!"
Clark Gable doesn't like night spots,
or parties, social chit-chat, or the frothy
pretensions of society. He has endured
plenty of it, but it makes him fid
Carole, quite frankly, used to eat it
up. She hosted the mos. charming and
clever parties in town. She knew every -
• everywhere. When the ul-
ted Hay-
fair Club held its annual ball, Carole
picked to run things. It was Carole
who decreed the now famous "White
Mavfaii " that Norma Shearer crossed up
rkedly by coming in flaming scar-
let— an idea you later saw dramatized
by Bette Davis in "Jezebel."
These things were the caviar and
cocktails of Carole Lombard's life — be-
fore she started going with Gable. But
look what happened —
Clark didn't like it, Carole found out
—quickly. What did he like? Well,
outside of hunting in wild country
white men seldom entered, and white
women never, he like to shoot skeet.
Shooting skeet, of course, is an intricate
scoring game worked out on the prin-
ciple of trapshooting. It involves bang-
ing away at crazily projected clay pig-
eons with a shotgun.
Carole learned to shoot skeet — not
only learned it but, with the intense
proficiency with which she attacks any-
thing, rapidly became one of the best
women skeet shooters in the country!
Gable liked to ride, so Carole got her-
self a horse and unpacked her riding
things.
He liked tennis, so she resurrected her
always good court game, taking lessons
from Alice Marble, her good friend and
the present national women's champion.
Playing with a man, Carole had to get
good and she did — so good that now
Clark can't win a set!
It goes on like that. Clark, tiring of
hotel life, moved out to a ranch in the
San Fernando Valley. What did Lom-
bard do? She bought a Valley ranch!
Carole has practically abandoned all
her Hollywood social contacts. She
doesn't keep up with the girls in gossip
as she used to. She doesn't throw
parties that hit the headlines and the
picture magazines. She and Clark are
all wrapped up in each other's interests.
While Gable did all the night work in
"Too Hot To Handle," Carole, though
working, too, was on his set every night.
She caught the sneak preview with him
and told him with all the candor of the
little woman, "It's hokum, Pappy — but
the most excellent hokum!"
Like any good spouse might do, Car-
ole has ways and means of chastening
Clark, too. When she's mad at him she
wears a hat he particularly despises.
Carole calls it her "hate hat."
Their fun now, around town, is al-
most entirely trips, football games,
fights and shows. Their stepping-out
nights usually end up at the home of
Director Walter Lang and his new wife,
Madalynne Fields, "Fieldsie," Carole's
bosom pal and long-time secretary.
They sit and play games!
Yes, Carole Lombard is a changed
woman since she tied up with Clark
Gable.
But her name is still Carole Lom-
bard.
I HE altar record, in fact, among Holly-
wood's popular twosomes is suprisingly
slim.
Usually something formidable stands
in the way of a marriage certificate
when Hollywood stars pair up minus a
preacher.
In Clark and Carole's case, of course,
there is a very sound legal barrier.
Clark is still officially a married man.
Every now and then negotiations for a
divorce are started, but, until some-
thing happens in court, Ria Gable is
still the only wife the law of this land
allows Clark Gable.
George Raft can't marry Virginia
Pine for the very same good reason;
he has a wife. Every effort he has made
for his freedom has failed.
Some of them, like Constance Bennett
and Gilbert Roland, go in a perfect de-
sign for living, apparently headed for
perpetual fun with each other. Connie
maintains one of the most luxurious
setups of them all, with a titled hus-
band in Europe and Gilbert Roland
her devoted slave in Hollywood. Years
have passed and the arrangement seems
to please everybody as much now as it
did at the start. Why should it ever
break up?
M-G-M's reputation for smart showmanship advances another notch
with their release during the holidays of Charles Dickens' "A Christ-
mas Carol." Reginald Owen takes the role of crusty Scrooge; Terry
Kilburn, as Tiny Tim (in doorway) will give the traditional happy
blessing, "Merry Xmas to you all — God bless us every one"
On the other hand, the unmarried
partners sometimes get a divorce — or at
least a separation, a recess, a morato-
rium— whatever you care to call it.
Calling the case of Charlie Chaplin and
Paulette Goddard requires more than a
bunch of handy nouns.
No one has ever been able yet to say
definitely whether or not the gray-
haired Charlie and his young, vivacious
Paulette were ever married. Such
things as public records exist for just
such purposes, of course, but in spite
of the fact that none can be unearthed,
a strong belief hovers around Holly-
wood that Charlie and Paulette did ac-
tually take the vows, some say on his
yacht out at sea.
But when, a few months back, Char-
lie was seen more and more in the com-
pany of other young ladies and Paulette
began stepping out with other men, an
unusually awkward contretemps was
brewed. What was it? The breaking
up of a love affair? Or the separation
of a marriage? If a divorce was to be
had, there had to have been a marriage.
But was there? Charlie wouldn't talk;
neither would Paulette. Hollywood re-
lapsed into a quandary. It's still there
as concerns the Chaplin-Goddard un-
married marriage. Meanwhile, both
Charlie and Paulette seem to be having
a good time with whomever they fancy.
But the interesting thing is that Paul-
ette still entertains her guests, when she
wishes, on Charlie Chaplin's yacht. So
maybe she has an interest in it that a
mere separation couldn't efface.
I HE most tragic, as well as perhaps the
most tender match of them all gave way
to an irresistible rival wooer, Death.
At the time of Jean Harlow's untimely
passing, she and William Powell had
reached an understanding that excluded
any one else from either's thoughts.
Both had fought for happiness in Holly-
wood without finding it, until they
found each other. Then Death stole
Jean away and Bill has never recovered
from the effect of that stunning blow.
There was only Jean Harlow's fam-
ily, her doctor and William Powell in
her hospital room the night she lost her
fight for life. Jean died in Bill's arms.
In every way since, he has acted as a
son-in-law to Jean's mother. He bought
the crypt where Jean lies today and ar-
ranged for perpetual flowers. This year,
on the anniversary of her passing, Bill
Powell and Mrs. Bello, Jean's mother,
went alone to visit Jean's resting place.
He sent Mrs. Bello on a trip to Ber-
muda last winter to recover from the
severe grief she has suffered since
Jean's death. She visited Bill regularly
during his recent spell in the hospital.
Both have one regret — that Bill and
Jean never got to be man and wife.
And that, it seems, would point a les-
son to the unique coterie of Hollywood's
unwed couples — Bob Taylor and Bar-
bara Stanwyck, who could get married
if they really wanted to; George Raft
and Virginia Pine, Carole Lombard and
Clark Gable and the other steady com-
pany couples who might swing it if they
tried a little harder. You can't take
your happiness with you.
For nobody, not even Hollywood's
miracle men, has ever improved on the
good old-fashioned, satisfying institu-
tion of holy matrimony. And, until
something better comes along, the best
way to hunt happiness when you're in
love in Hollywood or anywhere else —
is with a preacher, a marriage license
and a bagful of rice.
74
PHOTOPLAY
Boos and Bouquets
(Continued from page 68)
)H. FOR A DEAD PAN
I HERE ought to be a "No Smile" week
naugurated out in Hollywood. It would
;ive the stars a chance to relax their jaw
nuscles and perhaps, occasionally, look
he way they feel when they go out of an
evening. I'm fed up gazing at pictures of
ny favorites with eternal grins on their
aces, snapped at the Troc, at the Victor
lugo, etc., leering at me from the Cal
fork pages of Photoplay. They're all
having a simply marvelous time" —
•TUTS! If I do happen to spot a star
:eeping a "straight face" when looking
dr. Fink's camera in the eye, he or she,
is the case may be, goes up one hundred
•er cent in my estimation. (And this
s a hint to a certain First Lady of the
Screen whose dignified beauty has not
leen enhanced these days by her con-
tant smile — which verges on a smirk.)
Judy Mitchell,
Wauwautosa, Wise.
And we thought Americans were a
lation of optimists! But maybe this is a
lebatable question . . . do you like to
ee your favorites look as though they
re having a good rbne, or would you
irefer to see them a shade more on the
edate side? Let us know.
O TONE THE MATTER UP!
DO not agree with a recent editorial
umming up the Crawford-Tone separa-
ion. You state that there was the bru-
al fact that Joan 'was making more
loney when they met and as the years
lassed she kept on being more impor-
ant and making more money.
I beg to differ about her being more
mportant. To Franchot's millions of
idmirers and friends, he is more impor-
ant than Joan ever was or ever will be.
le is the son of a millionaire and to him
money means practically nothing. The
real reason for the separation is because
Franchot is a gentleman and hates all
the publicity which seems to be the very
breath of life to Joan. I will admit that
a certain amount of publicity is neces-
sary to the success of any film star, but
there should be reason in all things. The
reason for Joan's flop at the box office
can be traced directly to her ambition to
be the one and only film star in pictures.
J. D,
Salt Lake City, Utah.
KNAVES OF HEARTS?
nHAT nearsighted producers started
Don Ameche and Robert Young in their
"also ran" Cinderella roles? Are they
destined to reach a mournful old movie
age vainly pressing their suits and smil-
ing wistfully in endless romantic defeat
— without once winning that girl, except
in secondary spectacles?
Two such delightful players merit as-
signments more in tune with their out-
standing talent. Even a lowly "B"
picture acquires distinction with the
comprehension and humor of an Ameche
or a Young performance to the rescue.
How about some super parts for these
underrated actors before they are for-
ever typed?
Do I hear shouts of "A"-greement with
this wilderness voice?
Nancy Louise Couper,
Baltimore, Maryland.
It is true that every so often Robert
Young and Don Ameche don't get their
women in the last clinch, but, as both
are noted in film circles for being all-
around good guys, it is to be wondered
if they would want to pay the price of
being known as "glamour boys" even to
be always starred in super-productions.
We like them as they are.
This Year's Love Market
(Co7iti?iued from page 15)
m the Stork front. The Morton Dow-
leys (Barbara Bennett) profited when
heir stock rose 1 baby girl during the
nonth. At the close of business Stork
vas still firm, with the Melvyn Doug-
as-Helen Gahagan firm reporting a new
ind important member.
September: Romances were easier,
vith many participants taking profits
ifter the recent upswing, and news
carce. Year-end reports are said to be
gratifying, but the interest was not yet
effected in the street. The Margot
jrahame-Francis Lister divorce caused
» slight decline in the Marriage Stability
fidex, but the Hearts Exchange went
ip a few days later with Margot's mar-
riage to Canadian Allen McMartin.
The renewed rumor of a merger be-
:ween Gaynor and designer Adrian
lelped maintain the list, while definite
innouncement that Marie Wilson and
Director Nick Grinde would merge was
:onsidered good news by the traders.
A setback was caused by a hinted
Reno visit by Bette Davis. The Tyrone
Power issue, which had been very vola-
tile in recent months, again rallied
sharply with much widespread partici-
pation. The Norma Shearer firm was
rumored to have the largest commit-
ments in T. P. Preferred.
Three events of major importance
brought renewed activity into the mar-
ket in the last two weeks of the month.
Marriage stocks jumped three points
upon the definite announcement of a
consolidation between Ronald Colman
and Benita Hume, Genevieve Tobin and
Director William Keighley and Shirley
Ross and Ken Dolan. The list sagged
a little at increasingly serious rumors of
divorce between Bette Davis and Har-
mon Nelson, picked up later at the notice
that Frances Drake and Cecil Howard
(brother of the Earl of Suffolk) would
amalgamate their American-British in-
terests some time in the near future.
October, November, December: De-
spite the jitterbug quality of Love stocks
due to the War scare in Europe, the list
took a slight turn for the better with the
merger of Martha Raye, once divorced,
and Dave Rose and these two major
mergers: Margaret Tallichet and Direc-
tor William Wyler; Doris Kenyon,
former wife of the late Milton Sills, and
Albert Lasker.
Stork went to a new high with issues
made by the following firms: the Ernst
Lubitschs. the Jules Garfields, the An-
thony Quinns.
Straws in the wind indicate also that
the English glamour bonds soon will rise
again with the long-waited combine of
Ida Lupino and Louis Hayward. Amer-
ican glamour bonds rose sharply with
the Odets' and Oakies' reconciliations.
*Shirley Ross has lovely hands. With Bob Hope in Paramount's ''Thanks for the Memory".
Overcome "Winter Dryness- help protect
Softness, Smoothness of your HANDS
T7VERY girl wants "Hollywood
-*-J Hands" — so soft and smooth, so
enchanting to a man! Winter is their
special enemy. Then the skiivs mois-
ture glands provide less natural
moisture. And outdoor exposure
and necessary use of water are very
drying to hand skin. Usual result
for careless girls — is coarser, harsher
NEW! Jcrgens All-Purpose Face
Cream! Contains Biamin — helps
against dry skin, lot, 23t, jut.
hands. ^ 'iser girls often supplement
tliis deficiency of natural moisture
with Jergens Lotion. Does such
beautifying work! Furnishes moisture
for the skin. Contains 2 ingredients
many doctors use to help soften rough,
hard skin. Helps you have "darling
hands"'. Never sticky! Only 5(K.
10^, SI- 00 at beauty counters.
/»££/ GENEROUS SAMPLE
• • and BOOKLET ON HAND CARE
The Andrew Jergens Co.. 1719 Alfred St.
Cincinnati. O. (In Canada: Perth. Out.)
I want to sec for myself how Jergens Lotion helps
to make my hands smooth, soft and white. Plea»e
send your generous free sampU of Jcr.
Xame_
Slrcet-
(Pl E 1>K PRIST)
City.
-State-
JAN U ARY. 1939
75
It Pays to Be Tough
■ iiiid jrom page 17)
mother d>
1cm round : -old
brother and th.it •
'k the baby. Tl.
•hii worked nil day in a garment
He red ■:> ;:. !!•■
could walk and talk and go to School,
A kindly t door under-
took For the
: for him •
M the life ipI the SO
In a New York ghetl raw adept
with .;iid the sidewalk lingo,
with the arts of cop-chivvying and
fruit-swiping. He had no kick coming
till his lather married again.
Hil Stepmother never had a chance
with Julie. Julie v. | U) Hi
all about stepmothers and how
they treated kids. But he'd show this
one. She happened to be a gentle, pa-
tient woman with no wish but to make
life more comfortable for her husband
n. She found a sullen rebel,
flint to all overtures, too old to turn to
her i too young to appre-
her qualities.
The family moved to the Bronx, and
the boy was sent to Angelo Patri's
I a reform school, but an ex-
periment;.! institution for difficult chil-
dren. He didn't much cire what school
he went to. so long as his extra-curric-
ular activities remained unhampered,
nnexed himself to a promising
'We ware really fancy." he recalls.
"Threw bottles from roofs and made
war on other gangs. The classier kids
crossed the street when they saw me
coming. 'Don't hang around with Julie.'
their mothers told them. 'He's a bad
boy ' "
What was eating Julio, though he
didn't know it, was the yen to be a hero.
He wanted to be looked up to. The
only talents he'd developed lay in being
a tough guy. so he cultivated those for
all he was worth.
He hrd another talent of whose pos-
sibilities he was still unaware. His
friends called it "makin" crazy."
"C'mon, fellas," they'd yell, "listen to
Julie makin' crazy "
Mounted on a box under the corner
lamppost, Julie would improvise tall
The kids were all reading Frank
well. Play by play he'd describe
a thrilling football match, featuring his
father who was a tailor but had some-
how managed to make the Harvard
and his brother who was eight
but the star of the Yale eleven. The
street rang with yells of laughter and
Julie went home with a sense of
warmth in his breast.
IT was Angelo Patri who diverted his
energies into less anti-social channels.
!!• took me out of the gutter," says
Garfield blandly.
Patri got wind of the boy's speech-
making gifts He pointed out that the
'lasses in dramatics and
oratory and that any student could elect
eighty minutes a day of any course that
appealed to him.
Julie decided to enroll. Not long
after, tin
an oratorical i titu-
tion and the erstwhile strong-arm guy
brought home the bacon — a hundred
dollars in cash, assorted medals, honors
for himself and the school.
Suddenly his world was looking on
him with respect Hitherto stony-faced
teachers smiled and clapped him on the
i ized him
colli ted his nod
To realize that be could .
in by Using his head ta-
in to
Julie. Mole important still was the
.lion that he had an absorbing aim
in life He was going to be an actor.
Not that his turbulent 1 sud-
denly tami itch to roam m
him just I ..duation. so oil he
went to visit an uncle in Chicago. This
fall from • him the medal, al-
engraved with his name, which
the school conferred on the boy of whom
proudest.
Last year he returned to his alma
r to address the graduating class.
On the platform Mr. Patri handed him
a leather case. "Here's something you
forfeited seven or eight years ago. We
feel it's coming to you now."
It was during his years at the Patri
school that he met a girl named Roberta
Mann. The gently-bred Roberta was
alternately chilled and fascinated by
"that crazy Julie," whose hair was as
wild as his ideas. "You're crude." she'd
storm at him. "Ycu don't behave like
a gentleman."
"Who wants to be a gentleman? I'm
B free spirit."
What's so free about you?"
"Well, for one thing, I'm starting off
tomorrow to see the world."
"Yes. you are!"
A week later she'd received a post-
card from a distant city.
LXCEPT for some such occasional lapse,
he kept his eyes fixed on the goal. A
teacher advised him to apply to the
Heckscher Theatre, a training school for
dramatic students, where he was ac-
cepted and assigned alternately to the
roles of Qtii»ce and Bottom in "A Mid-
summer Night's Drecm." Jacob Ben-
Ami attended a performance and word
reached Garfield that the actor had
spoken well of him. So he sat himself
down and wrote Ben-Ami a letter, ask-
ing where he could go for further train-
ing.
"To the American Laboratory Thea-
tre." Ben-Ami wrote back.
This was an organization run by two
graduates of the Russian Art Theatre,
Richard Boleslavski and Mme. Ouspen-
skaya. Garfield made an appointment
with the lady. For an hour he rehearsed
himself in a casual rendition of his
opening line.
"Jacob Ben-Ami. who happens to be
a very dear friend of mine." he told her,
"sent me here. I would like an audi-
tion." (Suppose she phones him, you
dope, and finds out what a liar you
are, he was telling himself meantime).
Luckily, she didn't. He got his audi-
tion. "We'll give you a month's trial."
said Mme. Ouspenskaya. "Then, if
you've proven yourself, a seven months'
scholarship."
He was earning five dollars a week,
selling the Bronx Home News from
door to door. He knew that, to take ad-
vantage of this opportunity, he would
have to give all his time to it. He also
had to have the five dollars a week. He
couldn't tell his father he'd given up
his paper route. So he took the prob-
lem to Mr Patri. "I'll substitute for
the Bronx Home News," offered Patri.
and loaned him five dollars a week
while, for eight months. Julie tried
frantically to absorb all that the Rus-
sians could teach him.
Came autumn, and Garfield turned
once more to Ben -Ami. for no good rea-
son except that he'd turned to him be-
lt worked again and he found
himself apprenticed to Eva Le Gal-
lienne's stock company — no pay, but a
eh. inn- to leam and, if he made good, to
be given a job when his apprenticeship
d. He earned his keep as he
could — running errands, washing dishes,
pushing a handcart in the garment cen-
ter. Meantime he was playing extras
and bits in the training school.
I HE apprentices put on "Journey's
End" as their graduation play. Garfield
made a distinct impression. This was
the night of wild suspense and hope,
the night when Miss Le Gallienne chose
from among her apprentices a few of
the most promising, to be made regular
members of the company.
She called his name. "Garfield, I
want to give you a little lecture. The
discipline of the theater is as strict as
the discipline of the army. Why did
you take Mr. C's shoes and hide them?"
"What are you talking about?" he
stammered.
"The night Mr. C gave a guest per-
formance here, his shoes were hidden
just before the rise of the curtain. Why
did you do it?"
"But I didn't—"
"I'm sorry, Garfield. All signs point
to you. And we have no room here for
people who jeopardize a production to
prove that they're smart alecks."
Garfield hadn't hidden the shoes. He
had a notorious and well-earned rep-
utation as a practical joker, but he con-
fined his activities to the gentry above-
stairs. His reverence for the sacred
traditions of the theater was as deep as
Miss Le Gallienne's.
But what was the use! He stood
miserably silent while the jobs went to
others. Later, he received a letter of
apology. The culprit had been found.
His chance, however, remained lost.
In a state of thorough disgust with
himself and fate, he fell in with an artist
friend. "The function of the artist." said
his friend, "is to know the country he
lives in."
"Let's go." said Garfield.
They left New York with six dollars
between them. They worked in the coal
mines of Pennsylvania and the wheat
fields of Kansas. For handouts at
kitchen doors, they paid as they could.
Garfield recited "Gunga Din." His friend
presented the lady of the house with a
pen-and-ink sketch. Eventually they
separated, because it was easier for one
alone to get a lift than two together.
They were to meet at a certain gas sta-
tion, but missed each other.
ARRIVING on the coast, Garfield tried
to join the navy. They wouldn't have
him. He tried to join the marines. They
wouldn't have him. So he started back
east. In Nebraska he began feeling sick
and drowsy, but he kept on moving, and
ten days later stumbled into his step-
mother's kitchen. Panicstricken. she
phoned Roberta, who took one look at
her friend and called an ambulance. He
spent the next eight weeks in the hos-
pital with typhoid.
As he convalesced, resolution took
shape and hardened. On his second day
out, he walked into a producer's office.
"Give me a job," he said.
"What do you mean, give you a job?
What job?"
"Any job."
"What are you. nuts? How do I know
you can act?"
"How do I know you can produce?
I'm taking a chance on you. You don't
have to take any chance on me. Give
me a part and I'll read it for you."
The producer was sufficiently tickled
with this unorthodox approach to let
him read a part in "Lost Boy" and suffi-
ciently impressed with his reading to
give him the job.
Success achieved is pleasant, but
makes for a less varied story than the
struggle to achieve it. An agent saw
Garfield and presently he was playing
the office boy in the road company of
"Counielor-at-Law." The thrill of his
young life came when he was called
back to do the same part with Muni on
Broadway.
Muni was his paragon. He met Victor
Wolfson, who loved books and found
Garfield drinking in all he could teach
him with the thirst of a parched mind.
For a while, indeed, he planned to in-
terrupt his stage career for college, but
things were happening too fast.
He met Clifford Odets, who had just
finished "Awake and Sing."
"What it's produced, I think you're
the one to play it," he told Garfield.
Odets did for him in music what Wolf-
son had done for him in literature. The
fire was laid, waiting only for a match
to kindle it.
He and Odets would spend hours
drinking wine, listening to music, talk-
ing their heads off. The playwright
told him, too, about the Group Theatre,
about the young people who'd formed it,
their hopes, their plans and ideas.
"Sounds like heaven to me," said Gar-
field.
It ended in his becoming an appren-
tice, then a regular member of the
Group. A couple of flops were followed
by "Waiting for Lefty." Next day they
were the talk of the town.
It was then that Garfield and Roberta
married. The ceremony took place at
nine o'clock.
The groom dashed downtown to per-
form at a benefit and dashed back to
stand beside his bride for the wedding
reception at ten thirty.
"Awake and Sing" brought him still
more brilliantly into the limelight and
he began turning down his first movie
offer.
"I want to be in the theater. I need
more training."
Only after "Having Wonderful Time"
and "Golden Boy" did he feel that he
might te ready for a stab at Hollywood.
He joined Warners, because they agreed
to his "back to Broadway" platform.
But he gets an extra kick out of being
on the same lot with Muni.
He blushed like a boy when Muni vis-
ited his set one day.
"What are you doing here?" smiled
the older actor.
"Just came out to see what it was
like."
Muni nodded. "You'll be all right.
Don't give up this for this." he added,
pointing to heart and head.
"I won't," promised Garfield, earnestly.
H E was frightened by the advance raves
on his performance in "Four Daughters."
"They've given me a hurdle too high
to jump at," he groaned.
He needn't have worried. Now that
the picture's released, no complaints
have been heard.
There's a long list of what he calls
"real people" waiting to be played by
him. He's alive to his times and finds
them exciting. He's using his talent
well. He has his precious stage clause
to hug to his breast.
The kid who composed comedy fairy-
tales under a lamppost to entertain his
gang hasn't "made so crazy."
76
PHOTOPLAY
The Case of the Hollywood Scanda
DRUCE EATON calmly started for the
door, cupping his palm under my elbow.
The city officer said, "Just a minute,
please," and then to the cashier, "What
was he doing in the bank?"
"He wanted to get some things out of
a lockbox," the cashier said.
"Did he have the key to the lockbox?"
"Yes, of course."
The officers exchanged glances. There
was a sudden, significant tenseness
about their attitude. "What," the city
detective asked, "was the number of the
lockbox?"
"Number five," the cashier said.
The sheriff gave a low whistle. The
city detective said, "I'm very sorry, Mr.
Eaton, but we came down here to in-
vestigate that lockbox. If you had the
key to it, perhaps you know why."
"I'm sure I know nothing whatever
about your reasons for coming here,"
Bruce Eaton said, with dignity.
"Did you open the box?"
"Yes."
"Do you have the key to it?"
"Yes."
"Let's see if."
"I see no reason for giving it to you."
There was a harsh note in the detec-
tive's voice, "Now listen," he said, "I'm
asking you nice. I've asked you once
and I'm going to ask you once more.
That's going to be the last time. I want
the key to that box."
The sheriff said, "Wait a minute. We
don't need to bother about the key.
We're more interested in the contents.
What did you take out of the box,
Eaton?"
"Don't answer questions, Mr. Eaton,"
I warned. "Sit absolutely tight. This
is outrageous!"
The city officer said, ominously. "You
keep out of this, sister, or you'll wish
you had," arid then to Eaton, "You an-
swer questions and cooperate, or we'll
search you."
I was hoping frantically that Bruce
Eaton would get the significance of my
quick wink. He did. "Go ahead and
search me," he said. "You have suffi-
cient force to do it, but I won't submit
to the indignity of answering questions
about matters which are simply none of
your damn business."
The sheriff hesitated. I saw that he
was impressed, but the hard-boiled city
officers closed in on Bruce Eaton. They
held his arms, ■went through his pockets
swiftly. "Here's the key to the lock-
box," one of the officers said.
The officer in charge nodded to the
bank cashier. "We'll open it up and
take a look."
"It's irregular," the cashier began.
"There was a blank power of attorney
left by. . . ."
"Forget it," the officer said, sliding a
thick arm around the cashier's shoulder.
"Come on, Buddy, let's go."
I HE gentle pressure of his arm pushed
the cashier into motion. As one in a
daze, he produced the bank's key. I
heard the double click of locks opening
and then the officer exclaimed, "It's
empty. There ain't a thing in here."
The bank cashier said, "Then it's a
hoax. There never were any notes
about an invention in that box. It was
a swindle game."
The officer looked at me with uncor-
dial eyes. "You," he said, "have taken
in a lot of territory in this thing. Sister."
I said, scornfully, "Get a matron and
you can search me."
The officer looked me over. It was a
warm day and I was wearing light
(■Continued from page 63)
clothes. I'd left a lightweight coat in
Bruce Eaton's car. "I guess," he said,
"you haven't very much concealed on
you. Take a look in her purse, Bill."
I stood erect, scornfully silent. The
eyes of the officers took in every curve
of my figure in a calm, unhurried ap-
praisal that seemed to strip the clothes
right off me.
The screen door of the bank swung
open and shut, as Mr. Foley, looking
cool and calmly competent, entered the
bank.
"Good afternoon, gentlemen," he
said. "I'm sorry to disturb your little
party, but I think it's about time for
you to get down to brass tacks and
catch the murderers, don't you?"
The city detective was the nearest
to Mr. Foley. He said, "Who the hell
do you think you are?"
Foley ignored the question. "You
came down to set a trap," he said. "Be-
cause of a little premature gunplay on
the part of a hysterical bank cashier,
you were talked into springing your
trap before you'd even set it. You were
trying to catch a lion. In place of that,
you've caught a jackal."
The officer said, "You're full of ad-
vice, brother. Suppose you tell us how
it happens you know so much about it
and we'll just take a look at your driv-
ing license and any other means of
identification. . . ."
"I'm not going to argue with you,"
Foley interrupted. "Two people are
coming into this bank. If they find it
full of officers, you're never going to
get anything on them. Unless you can
get some additional evidence, you can't
pin a thing on them. Get your men
scattered about, filling out deposit slips,
standing up at the windows. Make this
look like a busy bank and you'll catch
your murderer."
The officer seemed dubious.
I looked out through the window and
saw the detective who had interrupted
The Bernarr Macfadden
Foundation—
conducts various non-profit enterprises:
The Macfadden-Deauville Hotel at
Miami Beach, Florida, one of the most
beautiful resorts on the Florida Beach,
recreation of all kinds provided, although
a rigid system of Bernarr Macfadden
methods of health building can be
secured.
The Physical Culture Hotel, Dansville,
New York, will also be open during the
winter, with accommodations at greatly
reduced prices, for health building and
recreation.
The Loomis Sanitarium at Liberty, New
York for the treatment of Tuberculosis
has been taken over by the Founda-
tion and Bernarr Macfadden's treatments,
together with the latest, most scientific
medical procedures, can be secured here
for the treatment, in all stages, of this
dreaded disease.
Castle Heights Military Academy at
Lebanon, Tennessee, a man-building,
fully accredited school preparatory for
college, placed on the honor roll by
designation of the War Department's
governmental authorities, where char-
acter building is the most important part
of education.
The Bernarr Macfadden Foundation
School for boys and girls from three to
eleven, at Briarcliff Manor, New York.
Complete information furnished upon
request
my lunch and Mrs. Temmler just get-
ting out of an automobile. The detec-
tive's right eye was badly swollen, but.
aside from that, he had managed to
make himself quite presentable.
I knew that seconds were precious.
I had a sudden inspiration.
"All right," I said. "I'll confess every-
thing, but I'm not going to take the
rap alone."
I saw Mr. Foley's eyes widen with
surprise; saw Bruce Eaton start in-
credulously. The city officer nodded.
"Now," he said, "you're talking sense."
"All right," I told him, "here come my
two accomplices. If you want to get
the goods on them, go to it. If you
muff this chance, try and make me
squeal. I'll never rat."
I realized my use of criminal jargon
left much to be desired, but Mr. Foley
got the idea. I saw his eyes twinkle,
and then, after a moment, Bruce Eaton
got it, too.
The officer turned to his men, "Okay,
you boys," he said. "Get up at the win-
dows. You," to the cashier, "get back
there and start waiting on them. Make
it snappy! Let's go."
The men dispersed into groups. The
officer took me by the arm and said,
"You come on over here and stand at
the table. Remember, we're making out
a deposit." He pushed a deposit slip
in front of me. One of the other officers
had Bruce Eaton by the arm. Another
walked up to stand at the cashier's
window. He had a roll of currency on
the slab in front of him and was peeling
off twenty- dollar bills.
Mrs. Temmler and her escort entered
the bank. Accustomed as they were to
banks in the larger cities, neither of
them seemed to see anything suspicious
about the sudden activity of the bank
at Las Almiras. Mrs. Temmler strode
directly to the cashier's window.
The city detective at the counter
stood slightly to one side. "Pardon me,
ma'am," he said, "I'm apt to be here for
some little time. Was there something
you wanted?"
"Thank you," she told him, with one
of her best smiles, and then to the
white-faced, tight-lipped cashier, she
said, cooingly, "My friend," with a nod
toward the man with her, "is a detec-
tive. My husband is an inventor. He
had an invention he wanted to sell and
left notes about the secret of the proc-
ess in a safe-deposit box here. The
box is number five. I'm suing my hus-
band for divorce and I have here a
court order appointing this gentleman
as a receiver to take charge of all of
the property belonging to the com-
munity. Here's a certified copy of the
order of the court."
She pushed a legal-looking document
across the counter.
"And don't tell me that you haven't
an extra key to it," she went on, "be-
cause we know that you have and. of
course, you wouldn't want to be guilty
of contempt of court."
Her smile would have been provoca-
tive in a younger, more slender woman.
In her case, it was just a silly simper.
The cashier glanced helplessly about
him. The man who accompanied Mrs.
Temmler and was now posing as a re-
ceiver appointed in a divorce action
glanced casually over his shoulder, and
evidently became suspicious as he saw
the men. who were gathered in little
groups in the bank, suddenly frozen into
attentive immobility — all eyes on Mrs.
Temmler.
Then he saw me. I saw panic in his
MARY PICKFORD'S
CLEANSING CREAM
60f*
WITH ANY CREAM
YOU HAVE EVER USED
AT ANY PRICE
Try it! It's only GO? but it shat-
ters all former ideas that a cream
must be expensive to be good.
As a matter of fact, when Mary
Pickford had this identical cream
made up for her own personal
use it cost her five times as much
as you are asked to pay. There
are dozens of cleansing creams
you can buy, but only one by
MARY PICKFORD.
CLEANSING CREAM . 60c BEAUTY SOAP . 2Se
COLO CREAM . ... 60c FACE POWDER . 60c
TISSUE CREAM . . 85c 0RYR0UCE. . . 60c
SWN FRESHENER . . 60c LIPSTICK .... 60c
On sale at Department and
Drug stores. Ask for bcok/ef.
RY PICKFORD COSMETICS, Inc.
New York • Hollywood
~
JANUARY, 1939
77
He turned d fur the
casually
the • low. The
city d "Oh,
wcul J. would :id lashed
out.
M TEMMLER turned just as the city
officer sL iplioa up
hard that it shook
uildmg. Tim, .--lu\ to...
run ibbad her by the lim,
For a moment, .she struggled with them,
forming the nucleus of ■ little group
which swayed back and forth, this way
and that. Then the group, resolved
itself into component parts. The man
had told me he w • stive
had ! circled by handcuffs and
Temmler, whib her heavy
m rising and falling in heaving ra-
pidity, was in the grip of one of the
:s. The city officer in charge said,
"Okay. si>ter, here are your accom-
plices. Now go ahead and give us the
sketch."
I tried to make my laugh sound
.1 and carefree, but I knew it was
a hollow failure as soon as I heard it.
I managed, however, to make my voice
breezy and nonchalant. "Don't be silly,
simply fixing things so you'd trap
these people intelligently. It looked as
though you were going to lose your
chance in a lot of arguments with Mr.
Foley. / don't know anything about
the crime."
The handcuffed man sneered, "That's
what you say! I'm an operative, I've
been shadowing this little lady ever
since she started to work for that man,
. over there. She. . . ."
"Wait a minute," the officer inter-
rupted, staring hard at Foley. "Is this
woman working for you?"
He nodded.
I saw the officer's lips tighten. He
said to the handcuffed detective, "What's
your name?"
"Thompson Garr."
"All right, Garr. Go ahead."
1," Garr said, "she went out to
Temmler's house the night of the mur-
der. She went in there by herself.
When she went in, Carter Wright was
alive. He had the key to that safe-
deposit box with him. When this
woman came out, Carter Wright was
dead and she had the key. You can
draw your own conclusions."
I saw that the officers were drawing
them, and drawing them fast. I realized
that circumstantial evidence had caught
me in a trap. I whirled to the detec-
tive and said, accusingly, "And you and
that blonde accomplice of yours tried
to run me down a block from Mr.
iler's house."
I r< alized as soon as I had spoken
that I'd said exactly the wrong thing.
It didn't do any good to accuse him of
trying to run me down. But what I
was an admission that I had been
' the house the night of inc mur-
v from the expression on Mr.
Foley's face that it was a disastrous ad-
ion.
r said, easily, "I didn't try to run
tar. That was another
car. I was tailing you. I got the license
plates of the other car, but they turned
out to be phony."
The officer said to me, "So you ware
out thi
Mr Foley aid, "Just a minute, gen-
tlemen, I think I can rlarify the situa-
tion. The woman who is with this man
appeared at my office earlier in the day.
■ Irs. Charles Temm-
ler: that Carter Wright had stolen the
key to du posit boa from his
employer: that her husband didn't
know anything about the theft and she
ifraid to have him find ot
it would indicate she had given the
chauffeur the opportunity to steal the
Mr. Foley took a i from his
pockat "I wired ■ deti cy to
check up on Mrs. Charles Temmler. I
found that Mrs. Charles Temmler was
With Inr husband in New York City.
I also found that Carter Wright I
woman traveling with him as his com-
mon-law wife and the description of
this woman tallies identically with that
of . . ."
i lie," she screamed, and, jerk-
ing herself free of the officer who was
holding her, made a wild rush for the
door.
OFFICERS grabbed her. She brushed
them to one side. She almost made the
door before they subdued her and got
handcuffs on her.
Mr. Foley said, "I think, gentlemen,
you'll find that Thompson Garr, the de-
tective here, was hired by Mr. Temmler
to get back the key to this safe-
deposit box, but Garr saw no reason
why he should get a potential fortune
and turn it back to Charles Temmler for
a per diem rate of compensation. He
decided to get the key, recover the con-
tents of the box and keep whatever he
found there.
"He first resorted to trickery and then
to violence. He actually got the key,
but lost it and, even then, didn't know
where the safe-deposit box was lo-
cated. He knew that Padgham and
Wright were going to reach an agree-
ment and that that agreement was to
be negotiated through my office. He
Eaton could answer. "I found it on the
floor (jf Mr. Temmler's house when I
went there to get Carter Wright to sign
the agreement."
Mr. Foley said, "Surely you gentlemen
don't need to detain Mr. Eaton. He
isn't going to run away."
"How do we know?" the officer asked.
Mr. Foley laughed, and said, "In the
first place, he's innocent; in the second
place, even if he wanted to run, there'd
be no place for him to go. Every man,
woman and child who has ever been to
a movie knows Bruce Eaton."
The sheriff said, "I reckon that's
right, boys."
Mr. Foley said, "I think I can finish
with the rest of these details. Miss Bell,
I'd like to have you go back to the
office and wait for me. You'll drive her
back, won't you, Mr. Eaton?"
"Certainly," Bruce Eaton said. "It
will be a pleasure."
I said, "Do you want to give me any
instructions about these papers in the
bank case, Mr. Eaton? I haven't them
in the files, but they're where I can put
my hand on them."
I saw him frown.
"No," he said, thoughtfully.
It takes a long time under ordinary
circumstances for two people to get to
know each other, but when some emer-
gency arises and two persons are teamed
up against the outside world they either
click, or they don't. Mr. Foley and I
clicked. I felt suddenly as though I'd
known the man all my life.
"After what happened last night," I
said, "I want to be sure there won't be
There are more girls on their own in Hollywood than any other
city in the world! But how do they live? What do they spend
on hats, houses, food, dresses? What special sex problems do
they encounter? The startling inside story is guaranteed to
set any dinner table abuzz!
GIRLS ON THEIR OWN IN HOLLYWOOD
By Cornelius Vanderbilt, Jr.
Next Month in PHOTOPLAY
acted upon the entirely natural assump-
tion that the information he wanted
would be contained in the agreement.
"He deliberately injured my secretary
in an automobile accident, planted one
of his operatives in the employment
agency which handles all of my em-
ployment problems. His operative,
Miss Blair, had an inside track with Miss
Benson, who runs the agency. Miss
Benson recommended her to me very
highly and I probably would have ac-
cepted her, if she hadn't made the mis-
take of thinking she could land a job
more through sex appeal than through
a display of ability.
"Then, after Carter Wright's death,
this woman, who had been passing her-
self off as his wife, saw an opportunity
to trick me into getting possession of
the key. She thought either Padgham
or I must have it, so she posed as Mrs.
Temmler and tried a bold and auda-
cious trick. It didn't work. Shortly
after she tried that, however, Garr must
have got in touch with her. You can
hat happened; they hatched up a
phony court action, in which she sued
a fictitious husband under an assumed
name and got this order of receiver-
ship."
The city officer seemed impressed. He
said to Bruce Eaton. "How did it happen
you got the key''"
"I gave it to him," I said, before Bruce
any misunderstandings. You didn't
want me to get those papers in that
bank case?"
There was comprehension in his eyes.
"Yes, I did. I hope you didn't mis-
understand me."
I laughed and said, "Quite the con-
trary. I feel any difficulty would be
quite vice versa," which I hoped was
sufficiently goofy to fool the officers. I
knew Mr. Foley would get it.
"Exactly," he said.
The officer said, "Well, don't stand
there chinning. We have work to do.
Get started, you two — if you're going."
"I take it. then, that you'll take care
of that matter?" I asked Mr. Foley,
casually.
"Yes. You took the papers out of the
file?"
"Yes, Mr. Foley. If you want them
you can get them any time before lunch
tomorrow."
I saw that for a moment he was puz-
zled. Then his face lit. "Oh, yes," he
said. "I'll take care of the matter at
the earliest opportunity. You run along
and get the office open. I'll vouch for
you here."
I nodded to Bruce Eaton. "Ready,"
I said.
And this time we managed to walk
out of the bank, although I momen-
tarily expected to feel the hand of an
officer clapped down on my shoulder.
BRUCE EATON drove rather slowly,
returning to Los Angeles. Several times
I caught him stealing quick glances at
me, sizing me up, but it wasn't until we
had left Pomona behind that he said, "I
wonder if you realize just how much it
means to Woodley Page, and to me —
what you've done?"
"I haven't done anything," I said,
making the usual stereotyped answer,
with my mind not at all on what he
was saying, but on what must be hap-
pening back in Las Almiras, wondering
if I shouldn't have stuck by Mr. Foley
until after the situation had been finally
cleared up.
Bruce Eaton said, "I've been sizing
you up. Do you know you'd go places
in pictures? You have the looks, the
figure, the personality. I don't know
how you'd screen, but I most certainly
do know that you can act. You had us
all fooled with that stunt of claiming
those two were your accomplices. It
took quick thinking and good acting to
put it across ... I'd like to have you
come out to the studio and arrange for
a test ... of course, the details of what
you've done can't be broadcast, but
enough of it will get around so you'll
find you'll have plenty of friends in
Hollywood. Woodley Page is one of the
best-liked actors there and . . . well,
Hollywood people just naturally fall for
a girl who comes through in the
pinches."
"You're mighty nice," I told him, "but
I'm afraid you're overrating any ability
I may have just about a thousand per
cent."
"Well," he said, smiling, "we'll wait
for the screen test to tell about that. In
the meantime, how about dinner to-
night?"
"You forget," I told him, "I'm a work-
ing girl."
"But you don't work in the evenings."
"I may have to."
"Well, let's take a chance that you
won't."
"I'm awfully sorry, Mr. Eaton,
but. . . ."
"Aren't you going to call me Bruce?"
I flashed him a smile. "All right,
Bruce, I'm sorry. I'm worried about
Mr. Foley. I'm not certain that I've given
him exactly a square deal. After all,
we left him in something of a spot."
"You're boss, Mr. Foley, looks to me
very much like a person who could take
care of himself under almost any cir-
cumstances," Bruce Eaton said. "I
don't think you need to worry about
him, at all."
"I'm worried just the same."
He glanced at me sharply. "I won-
der," he said, "if . . ." his voice trailed
away into silence.
"If what?" I asked.
"Nothing," he said, smiling. "How
about that dinner date?"
"Thanks all the same, but I'm holding
the evening open for the boss. May I
have a rain check on it?"
"You most certainly may," he said
and then, after a moment, added, as he
pushed his foot down on the throttle,
"and I presume that means you're in a
hurry to get back to Los Angeles and
your office."
The car leapt ahead like a frightened
animal. There was no more conversa-
tion.
He slowed down before we reached
Los Angeles, but still he seemed in no
mood for conversation and I was busy
with my own thoughts. It wasn't until
he'd stopped the car in front of my
office building that he took my hand
and said, "Claire, you've done a great
deal for Woodley Page. You've done
a lot more for me. I don't suppose
there's any use trying to tell you how
much. And, above all, you've made me
realize something of what my acting
PHOTOPLAY
stands for. You've renewed my faith
in the real purpose back of the whole
picture game. I'm afraid, before, I saw
it too much from the side of the actor.
You've given me an opportunity to see
it from the side of the audience . . .
and, remember, you're going to have
dinner with me sometime within the
next week."
I wanted to say something else to
him, but someone recognized him as he
stood there holding the door open for
me. People began to crane their necks,
so I just gave his arm a squeeze and
said, "It's been grand getting to know
you, Mr. . . ."
"Bruce." he interrupted.
"Bruce," I said, and grinned.
"Okay, Claire," he told me. "I'll be
giving you a buzz."
I crossed the sidewalk to the office
building. People stared at me as though
I'd been a queen.
Mr. FOLEY didn't come in until nearly
six o'clock.
"Great heavens!" he said. "Are you
still here?"
I nodded.
"You're supposed to go home at five
o'clock."
"But I hadn't heard from you and
. . . and I was waiting."
"What happened to your actor friend?"
he asked, frowning. "After all you did
for him. didn't he. . . ."
"He wanted me to go to dinner," I
said. "I took a rain check on it."
"Why the rain check?"
"I wanted to hear from you. I was
worried about leaving you in a spot
there at the bank."
He looked at me with frowning con-
templation as though perhaps trying to
find confirmation in my face of some-
thing he had heard in my voice. So I
said rapidly, "Tell me. what happened?"
"Thanks to what you told me over
the telephone," he said, "I had a pretty
good angle to start on. This detective.
Garr, is a bully who adopts the attitude
of getting the other man on the de-
fensive. You'll notice he was masquer-
ading very cleverly as a police detec-
tive. He used the word 'detective,' and
didn't say whether he was from head-
quarters or a private detective. It was
part of his technique to keep the other
man on the defensive so no questions
were asked. But when you suddenly
turned the tables on him and made an
accusation against him, he forgot him-
self for a moment. Now, notice the pe-
culiarity of his conversation.
"I'm satisfied he started to say, 'Say,
you ain't got anything on me.' Under
ordinary circumstances, if he had been
saying, 'You ain't got anything on me,'
he'd emphasize the 'you,' in that sneer-
ing, sarcastic way of his and his chin
would have been up and thrust forward.
This time, he ducked his head and not
only failed to emphasize the 'you,' but
ran the words together as though he had
been reciting a fixed formula.
"Now that's the natural reaction of a
crook, whenever he's arrested — particu-
larly a man with a criminal record. He
pulls his chin down and says, in a voice
which is a defiant whine, 'You ain't got
anything on me.'
"That little tip of yours over the tele-
phone convinced me that the man was
a crook, convinced me further that he
was in this thing pretty deeply. So,
after you'd left the bank. I told the
officers to take his fingerprints, and
they'd find he had a criminal record.
That floored him."
"Did he confess?" I asked.
"Not just then, he didn't," Mr. Foley
said. "The woman was the first to con-
fess. She was afraid she was going to
get roped in on the murder rap. When
the going got good and rough, she caved
in and put all the blame on Garr's
shoulders. Garr tried to get out by
making her the goat. When I left, they
were both going sixty miles an hour,
calling names and making accusations.
I lifted the letters out of the cashier's
lunch box."
"Do you know exactly what happened
on that murder?" I asked.
He grinned. "I think so. One of the
things that's been puzzling you is what
happened to your shorthand notebook
and that agreement in the brief case.
Right0"
I nodded.
"Well," he said, "you see, it's this way.
Padgham went out to the house a little
early. He got there a few minutes be-
fore you did. He found the corpse in
the upstairs room. Your actor friend
had evidently been tied and gagged in
the closet — Garr admitted slugging him
and tying and gagging him after a strug-
gle, but wouldn't admit the murder.
Anyway, Padgham beat it. After ten or
fifteen minutes he started worrying
about what was going to happen to
Woodley Page. He wondered if Carter
Wright happened to have the key to that
safe-deposit box in his possession and
he thought it would be a good plan to
find out. He drove back toward the
house.
"He didn't care to be seen in the
house, so he took a flashlight out of his
car and slipped it in his pocket. Then
he went around to the back screen
porch, pulled a master switch which
plunged the whole place in darkness
and walked around to the front door.
He rang the doorbell, just as a precau-
tion, not thinking it possible anyone was
in the house, but not wanting to take a
chance on being discovered if someone
did happen to be there. When you
opened the door, it almost knocked him
for a loop.
"You didn't notice the significant part
of his conversation. He didn't ask you
anything about when the lights went off
and, despite the fact the house was in
darkness, started upstairs to see what he
could find. That shows he had a flash-
light in his pocket and he wouldn't have
had a flashlight with him unless he'd
taken it, knowing that he had use for it.
OO." Mr. Foley went on. "after think-
ing the matter over, I got hold of Pad-
gham, accused him point-blank and
made him admit the whole business, in
addition to telling me about the real
purpose back of the agreement. It was,
of course, a species of blackmail."
"But why did Mr. Padgham steal the
agreement and my shorthand note-
book?"' I asked. "If he. . . ."
Mr. Foley grinned and said. "He
didn't. Now don't get mad. Miss Bell,
but I'm the guilty one. I lifted the
agreement out of your brief case while
you were in the drugstore, telephoning
the police. I came up to the office late
last night to get your shorthand note-
book. I was afraid you were going to
get dragged into it. I was afraid the
police would grab the agreement and I
didn't think that was exactly the right
way to treat my clients."
"Then why didn't you tell me?" I
asked.
"Because then you'd have had to lie to
the police. As it was, you rather sus-
pected Padgham of having taken the
agreement, which was perfectly swell
as far as I was concerned. Why did
you take a rain check on Bruce Eaton's
dinner invitation?"
I felt color in my cheeks, but tried to
make my voice sound casual. "I thought
perhaps you might want me. . . ."
"I do." he said. "Let's go out where
we can eat and dance and forget all
this."
"You give me five minutes with my
compact," I told him. . . .
That finished the case as far as the of-
fice was concerned. As far as I'm con-
cerned, it's just started things and I
don t know how or where they're going
to end. Bruce Eaton called me at the
office this morning. He's arranged for
that screen test and he's insisting on a
definite date for dinner.
Mr. Foley came in a few minutes ago
and paused by my desk to look down at
me. I don't think I can ever forget last
night, with the rhythm of the dance
music, and drifting across the floor in
his arms. He said, "Let's do that again
sometime, Claire."
I nodded. "Soon," he said.
I didn't tell him about the screen test.
"Any time," I told him.
He put his hand on mine for a minute
and said. "Incidentally, if you're really
interested in studying voices, you're go-
ing to have an excellent opportunity."
"Oh. I am interested," I exclaimed.
"I think it's one of the most fascinating
things I've ever encountered. Tell me
more about it. What's the opportunity?"
"One of the big radio companies," Mr.
Foley said, "has just made me an offer
to put on a new feature. You know,
I've been acting as talent scout for this
company for several weeks. Now
they've become very much interested
and have made me this offer."
"Just what is it?" I asked.
nE said. "I'm to have a telephone,
with a number which will be broadcast.
Any person at any time during the day
can call me up on the telephone. The
person doesn't need to give his name.
He simply asks for a number. I assign
that person a number. The person then
talks with me. telling me something of
his or her problems, occupation, ambi-
tions and discusses any contemplated
changes in environment or career.
"Then, on my broadcast, I call out
these numbers, analyze the person's
character, advise that person of his or
her strong points and weak points, the
things to seek in life, the things to avoid.
It will all be absolutely private because
the person who is involved is the only
one who will know the number allotted
over the telephone.
"The general radio public will hear
me say only for instance, 'number twen-
ty-three: I note that you have a sym-
pathetic voice. I further note that you
are inclined to do a great deal of ex-
plaining in connection with decisions
you reach, or instructions you give.
That shows me that you are not the ex-
ecutive type. It shows me also that you
are altogether too considerate of other
people's feelings. You'll note that the
executive seldom gives reasons for his
conclusions. The man who can answer
a question in actual conversation with a
brief "yes" or "no" is one usually accus-
tomed to command. He is the execu-
tive type and usually he's relatively in-
considerate of other persons' feelings.
He focuses his mind on a result which
he wants to accomplish, whereas . . .'
You get the point," he said.
"Indeed I do! I think it would be
wonderful!"
"Well, we're going to give it a whirl,"
he told me and then said abruptly.
"You certainly look mighty fresh and
sweet this morning" . . . and then, as
though he were afraid he'd become too
personal, he made a great show of grab-
bing his mail and bustling away.
I picked up the paper with its big
headlines reading, "POLICE OBTAIN
CONFESSION IN WRIGHT MURDER
CASE." I started to read and ... I
picked up the receiver as Mr. Foley
buzzed my signal. I thought he wanted
to give me some dictation so I was
reaching for my book, but instead he
said. "How about lunch today?"
I didn't dare answer right away — not
after what happened last night. He's
too darned clever at reading voices.
sdidtwM 'amttott
itr cued Aixrm.
California
COACH AMD TOURIST-SLEEPER TRAIN
This daily Chicago -California
train really gives you the utmost
in travel comfort for the fewest
possible dollars . . .
For the Scout is swift, modern,
air-conditioned. It carries the new-
est of stainless steel chair cars;
quiet, roomy sleepers; a cheery'
club car for sleeper passengers; a
Fred Harvey diner, serving deli-
cious meals to all for only 90c a
day; and provides the free and
friendly service of a registered
courier-nurse.
The fare? Just S39.50, one way,
and S65, round trip, between Chi-
cago and Los Angeles, in coaches;
only slightly higher in the Scout's
sleeping cars, in which berth
charges are little more than half
those in standard Pullmans.
AMERICA'S ONLY All-CHAIR-CAR
TRANSCONTINENTAL STREAMLINER
EL CAPITAN, Santa Fes gay new twice-
a-wet-k stainless steel economy scream-
liner for the exclusive enjoyment of
chair-car passengers, is as swift as the
fastest deluxe streamliner, whisking
between Chicago and California in rust
}9> i hours! El Capitan brings the thrill
of supreme speed to transcontinental
economy travel, at the lowest of coach
fares, plus a very small extra fare • For
new picture booklets on the Scout and
El Capital), just mail the coupon below.
• The Scout and El Capitan are but
in o of Santa Fe's great fleet of trains
offering eiery type of suift and com-
fortable sen ice to and from California.
► MAIL THIS COUPON FOR FREE BOOKLETS <
T. B. Gallaher. P.T.M.. Santa Fe Svstem Lines
1208 Railway Exchange, Chicago. Illinois
Send Scout and El Capitan booklets, and fares
from to
Name
Address
GOLDEN GATE EXPOSITION OPENS
IN SAN FRANCISCO FEBRUARY It, 1939
JAN UARY, I 939
79
Civilizing Sabu of India
f Continued from pa\
minded. But it looks more like nn in-
Hr km ■• kind
i shy firmness.
■ ii of army
H nh bomb-
up, ho thought the pursuit
i the
■ men in the party believed.
Investigation proved that Sabu, so re-
cently OUl of the elephant stahle-
right and that his American elders were
little disconcerting when
«■ that he has picked up all
his information in the brief time he has
been learning the English language.
In his off moments, he has been
studying under special tutors at a school
he studio, outside of London.
He plays on the school football team
and, while in New York, went out to
watch the Columbia University squad
oo, apparently with the idea of
taking a few new tricks back with him.
But his favorite diversion is iccskating.
• I skate all day if they let me," bliss-
fully states the youngster who never
Ice until he reached England. But
in no time at all, he's back to the sub-
ject of motors. How fast are wc al-
lowed to go on country roads in Amer-
ica1 The big car they gave him in
London can do eighty or ninety on a
good clear stretch, he boasts. No, he
isn't allowed to drive it. He can't get
a license till he's seventeen " — only two
years now," he murmurs with pride.
ALL of this does not mean that he has
given up an interest in elephants — far
from it — though at first we suspected
he was a little bored at everyone's talk-
ing to him about them and at being
obliged to meet personally, and ride, all
of the elephants in the zoos of the vari-
ous cities he visited. When we got to
the bottom of the matter, however, we
found that the sober expression at the
mention of them was due to the fact
that he thought they ought not to be
taken to large cities outside of their
own country.
"When I get enough money to buy
my elephant," said Sabu with decision,
"I shall leave him in India, even if I go
away. An elephant has no — no home
life in London or New York." His own
elephant must have some home life.
"He must go sometimes into the jun-
gle." explained the young man in the
Bond Street clothes and added, with a
sudden nostalgic impulse, "When I go
back to India, the first thing — I am
going into the jungle."
"Do you want to go back very much?"
wc asked.
"Oh — " There was real emotion un-
der his voice, "who does not want to
go where he was born?"
r P.ABLY one of the reasons for
irdinate pride In achieving the
ripe "Id ace of fifteen is that celebrating
birth <w thing with him. Un-
til tl. he didn't know his
The boy's true history sounds like a
10 Alger books
and Kipling, with a dash of the stuff
that miracles are made of. But it does
not seem unu 3abtL
Be wai bora In b little village at the
edge of the jungle in Mysore. His
mother died when he was very small.
His father, who was a mahout and al-
busy with the elephants of the
taueht one of them, named
Gudi.'ti, to rock the idle.
• know how old h<
when his father died, but it was bl
he'd e.cit his second teeth.
Shortly after that, his elephant friend
went nuisth and had to be bam
into the jungle. This left the little boy
v completely on his own. He had
an older brother, but he wasn't around
there much. So Sabu stood on his small
man's feet and faced things for him-
self. With the munificent dole of sev-
enty-five cents a month, he managed
his own affairs. It was not a lavish life,
he admits, but he seems to think it
I so bad.
He learned where to get the cheapest
rice and discovered that, if he helped
one man with his garden, he would
sometimes give him vegetables for it —
a little overripe, perhaps, but good.
People were nice to him. But he found
his best friends in elephants — especially
a very large one named Iravatha in the
royal stables. No one minded his play-
ing there.
OABU'S greatest ambition was to be a
mahout. All the other young urchins
around the stables wanted to be ma-
houts, too. It's the Hindu gamin's sub-
stitute for that desire to be a policeman
that surges in young American breasts.
He taught the big elephant to pick him
up in his trunk and set him atop his
head, instead of following the usual
elephant driver's custom of making an
elephant kneel and mounting by way of
the bent knee. But Sabu's mahoutship
looked a long way off.
One day news got around the stables
that some new white sahibs had come
and were going to pick a boy to play at
being a mahout and have his picture
taken. The whole gang got exited
over this. So did their parents who —
although they knew very little about
such things — instinctively foresaw
something of the ease enjoyed by par-
ents who have been wise enough to give
birth to picture stars.
Sabu, having no parents to speak for
him, decided he didn't stand much
chance. He thought about it a good
deal, it seems, but rather bleakly.
One day he went to get his monthly
stipend. When he came out of the of-
fice, he saw a strange white man and,
of course, stared at him.
The white man stared back. Sabu
smiled politely. The white fellow spoke
to him, but Sabu didn't understand
until someone came along and ex-
plained that this was the picture man
and he wanted to know if Sabu would
be interested in a chance at the much-
discussed part. Also, did Sabu know
anything about elephants?
Sabu happily explained that he knew
nothing else but. Then, for the first
time, he got into one of those things
called an automobile. As he looks back
from the vantage point of three years,
it was a very amusing moment, that
first ride. But, of course, he was just a
little boy then, you understand.
HOWEVER, nothing was settled about
the picture part for quite a while. It
was almost as bad as casting Scarlett
O'Hara. They were considering a num-
ber of other boys. All of them lived
together and Mr. Flaherty, watching
them as they played together, learned
things. Flaherty still does not know
how he happened to ask Sabu to go
with him one day to Karapur to film
some elephants crossing the river. The
boy was playing alone and suddenly the
man found himself saying, "Would you
like to come along?" Sabu would.
Much to Sabu's amazement, he found
Iravatha In the herd that had been bor-
rowed for the river shots. He and the
big pachyderm did the mounting trick,
via the trunk, just out of pure joy in
reunion. Then a request was sent out
for a mahout to ride the big elephant
across the river.
The current was very treacherous
and the mahouts all refused. So Sabu,
sitting atop Iravatha, started for the
water. In midstream, the current got
the better of them. They were carried
swiftly down the river. Everybody on
shore held his breath as the small
brown scrap of humanity, looking
smaller and smaller, was drifted toward
the crocodiles.
But a mile down, Iravatha, urged on
by his infinitesimal mahout, made a
supreme effort and they struggled up
onto the bank. The others reached
them as soon as possible. Sabu, beam-
ing with pride in his elephant friend,
dashed up to the white gentleman, who
was looking a bit whiter than usual.
"Do we get the job?" asked Sabu,
who had retained his poise and knew a
psychological moment when he found
one. They got it — the boy and the ele-
phant.
I ROM then on, he and Iravatha pre-
tended they were two other fellows.
Sabu became Toomai and the elephant
was rechristened Kala Nag. It was not
until much later that Sabu began to
learn what acting really meant — which
may account for the beautiful and
poignant restraint with which he played
the more dramatic scenes. The ele-
phant was sick twice during the pic-
ture and his understudy, Lakshmi, took
his place. Sabu did not like that ele-
phant. He was "very no good." The
elephant proved it by killing a man.
Along about this time, Sabu began to
learn the few words of English neces-
sary to the film. He also heard about
birthdays. Somehow, the question of
his age had to be settled for legal pur-
poses. But no one was able to give any
information until they found an old
man who had lived in Sabu's village.
He remembered that the boy was born
on the same day that one of the ele-
phants in the royal stable had had a
calf. That, of course, had been noted
in the palace records. So they looked it
up and discovered that Sabu and the
little elephant punk were both twelve
years old.
Another incident in Sabu's early life
is said to have come to light at the same
time. When he was still a very small
boy, long before he had ever heard of
pictures, it seemed that a wild elephant
came charging out of the jungle into
the village, which was often invaded by
one kind of wild animal or another.
Everybody ran in panic and no one
stopped to pick up the child who was
playing in the road. When his fellow
citizens looked out afterward to see
what had happened to him, they saw
the small boy and the wild elephant
playing together.
There were also several incidents in
which Sabu showed this same lack of
fear while the picture was being made.
In the old days, Sabu used to explain
such things easily by saying that he
knew no harm could come to him be-
cause, before she had died, his mother,
who had planned on his growing up
and being a fine mahout like his father,
had tied a talisman about his neck and
said that as long as he wore it and had
faith he would be safe. But today,
when asked about such things, Sabu
looks a little uneasy. He knows that
most English and American people have
different ideas. So he just states that
"elephants are all right if you know
how to handle them." And with a q
laugh he adds, "In fact, they even have
one advantage over motor cars — there's
no bother with gears and brakes." And
the conversation is back on safe ground.
IN the two years since he left India for
England, he has been pretty busy get-
ting adjusted to the new ways of life
and has made only the one picture,
"Drums," but three new scripts are now
being readied for him. The next will
be "The Chief of Bagdad"; after that
comes "Burmese Silver"; then Kipling's
"Mowgli," which is, of course, inevi-
table.
In "Drums," Sabu proved himself as
much at home on a horse as on an ele-
phant. Alexander Korda, who had
promised him a trip to America, decided
to make good on his promise just at the
time the new picture was opening.
"Drums" proved a prophetic title. Ev-
erybody from New York to California
was beating drums for Sabu. He was
invited for polo at the most exclusive
clubs and was feted by society as though
he were the son of a maharaja.
This last bit of news will, no doubt,
add to the fury of the already indignant
elect of caste-conscious India, who have
deluged Korda with letters asking how
he dared "let Sabu impersonate an In-
dian prince" in the film.
Mr. Korda's response was character-
istic. "The point has not worried me
in the slightest," he answered, "since I
have no caste myself."
Sabu had a grand time in the United
States. He had already acquired a good
deal of our slang from American tech-
nicians in the London studios and from
an intensive study of American films.
Even upon arrival in New York, he was
terminating telephone calls with a brisk
"Okay," and exclaiming "Oh, boy!" at
appropriate moments. By the time he
left, it was predicted that the English
customs authorities would probably
have to sort out his vocabulary and put
a special tax on imported slang before
letting him back into the country.
Sabu pursued a steady policy of in-
quiry from the time he landed here un-
til he left. He has an intensive way of
going at things until he gets at the in-
most core and people who were dele-
gated to chaperon him hither and yon
are seriously thinking of memorizing the
Book of Knowledge before his next
visit.
It is doubtful if any visitor to our
shores has ever asked so many ques-
tions or imbibed so many ice-cream
sodas.
The young man seems to have done
a good deal of thinking. Both physi-
cally and mentally, he appears well-or-
ganized and the attention he has been
getting these past three years has in no
way disturbed his simplicity of manner
or added any false notes. Perhaps he
has been much too busy learning all the
things that make England and Amer-
ica so different from the country he
knew before. Or possibly, when you've
had a whole herd of elephants bow to
you when you were twelve, you can
take anything in your stride by the time
you are fifteen.
There is a saying in India that ele-
phants teach wisdom to those whom
they know well.
If the unspoiled Sabu is a sample, it
might be good for many of us to go get
acquainted with an elephant.
80
PHOTOPLAY
The Shadow Stage
THE STORM— Universal
A WHIRLWIND of action takes place in
this minor screen story and makes it
interesting to watch. Charles Bickford
is a sturdy, he-man wireless operator.
When his pal, Preston Foster, goes to
his death at sea, Bickford blames the
captain, Barton MacLane, and a ter-
rific brawl ensues. Tom Brown and
Nan Grey are the romantic pair and
Andy Devine and Frank Jenks the com-
ical twosome.
Tlr MEN WITH WINGS— Paramount
ALTHOUGH lacking on story and
therefore suffering from too-much-
weight-in-the-middle, this presents an
accurate and, in the main, exciting saga
of man's conquest of the air from the
Wright Brothers to Howard Hughes.
Besides, it's in Technicolor; and this
offers the opportunity for some breath-
taking photography. Holding it all to-
gether is a triangle story in which two
friends, Ray Milland and Fred Mac-
Murray, both love Louise Campbell,
who is new to films and very pretty.
MacMurray is a daredevil with wan-
derlust; Milland is a genius who stays
at home to design planes. Louise falls
for Fred, of course. Ray suffers like a
man. Andy Devine, Lynne Overman
and others do good jobs. See this for
spectacle, for historic interest, and for
occasional scenes which unaccountably
have rather splendid drama.
• BROTHER RAT— Warners
THE story of three cadets at V.M.I.—
the "West Point of the South" — and their
almost endless troubles made a grand
play last season. Now comes the film
version; and it's a honey. Made with
fervor and a brisk feeling for the psy-
chology of youth, it departs from the
usual type of school movie. The stand-
ard types are absent — in their stead you
will discover youngsters with imagina-
tion and brilliant vitality which they
use to full advantage in conjunction
with the worldly wisdom that seems to
be the new possession of modern stu-
dents. Wayne Morris, a happy-chappy
with plenty of ideas that somehow go
wrong; Eddie Albert, all athlete, short
on brains but a great worrier; and Ron-
ald Reagan, conservative but a pal in
need, form the trio who have three aims
in life. These are wimmen (meaning
Priscilla Lane, Jane Wyman, Jane
Bryan) ; graduating from V.M.I. ; and
winning the ball game. Eventually,
everything revolves around Eddie, who
has secretly married La Bryan. She's
going to have a baby, and he's broke,
and he'll be fired if anyone finds out.
All is saved by the fact that friend Jane
Wyman (a cheery new Warner discov-
ery with lots of charm) is the Comman-
der's daughter. Important for its dia-
logue and the excellent gags, for its
portrayal of the lighter side of life in
a military academy, "Brother Rat" also
has the good fortune to present Mr.
Albert to Hollywood for the first time.
He's direct from the stage version, and
can he act! You'll have a roaring good
time at this.
ir SUEZ— 20th Century-Fox
W ITH all the trappings of a cinema Epic,
yet somehow without the grand spirit,
"Suez" is at once a great success — as
history artistically told — and a notable
failure as entertainment. Its main at-
traction is a kind of howling desert
twister which the studio would like to
have called a "simoon" (possibly in
memory of a recent French contractce
(Continued from page 45)
there), but which acts like a hurricane
and an earthquake let loose all at once.
Except for this disaster, and a dandy
explosion, you must expect a pretty
stuffy account of the trials Tyrone
Power, as Ferdinand de Lesseps, has in
scooping out the Suez Canal. These
range from the treachery of Louis Na-
poleon to the predatory meanderings of
Annabella. What is really wrong with
the picture is that there is no sex in it.
Mr. Power has a kind of honorable yen
for Loretta Young, who turns him down
for the crown of France; but this is
frustration. Annabella throws herself
at him bodily in the hot desert and you
are led to believe that he refuses her,
which is not only disappointing but fra-
grant of deceit. In the end it all comes
out — he's in love with a ditch. And by
this time you are pretty bored with it.
Miss Young seems a bit bewildered at
being an Empress; Power has a nice tan
and gives the performance you are com-
ing to expect from him. Huzzahs are
in order for Edward Bromberg's mag-
nificent portrayal of Prince Said. Pever-
ell Marley's photography and the 20th
Century-Fox budget.
SERVICE DE LUXE— Universal
UOLLY, this is a bad picture. Orig-
inally, there was a good idea in the
thought that a woman who runs a per-
sonal service bureau would like a self-
sustaining kind of man for a husband.
But Connie Bennett, finding newcomer
Vincent Price, is no thrill; neither is she
funny. Writing and direction are non-
descript. Price, in a good part in a good
film, probably will do well enough.
Helen Broderick and Mischa Auer man-
age to get a few laughs.
A
LISTEN, DARLING— M-G-M
S fresh as a daisy and cheery as spring
is this warm little story of an everyday
problem and how to solve it. The cast,
headed by Judy Garland and Freddie
Bartholomew, seems to catch and main-
tain just the right tempo to keep the
story swinging along. When widow
Mary Astor decides to marry a man
she doesn't love, in order to provide se-
curity for her children, daughter Judy
Garland and her pal Freddie kidnap
Mama and little brother Scotty Beckett,
haul them away in the family trailer.
Whom should they meet in another
trailer but handsome Walter Pidgeon!
The Jack Bennys turn out for Sonja
Heme's thrilling new ice show
The children decide that here's the per-
fect papa for a ready-made family. How
they finally land him will cause more
than one good guffaw, it's that funny.
• YOUNG DR. KILDARE— M-G-M
I HIS heartwarming story, the first in a
new series, pairs Lionel Barrymore and
Lew Ayres in the tale of a veteran phy-
sician and his faith in a young interne.
When Ayres, who has chosen a city hos-
pital in preference to his father's coun-
try practice, lands in trouble it's Barry-
more, sharp of tongue but kind of heart,
who proves to be his friend. Both Bar-
rymore and Ayres handle their jobs
with competent and sincere artistry.
INSIDE STORY— 20th Century-Fox
I HE second in the "Roving Reporter"
series finds Michael Whalen, as the re-
porter, involved in a night-club murder.
When Jean Rogers, who has witnessed
the murder, seeks safety with Whalen,
the villain steals her away and attempts
to kill her. Chick Chandler is again the
lively cameraman and June Gale the
comedienne. Ricardo Cortez makes his
bow in this as a director. Only fair.
• THE MAD MISS MANTON— RKO-Radio
T OR your delight, and probably to your
surprise, East Side New York's Barbara
Stanwyck is cast as a screwball Park
Avenue heiress in this. Carrying her
role, as well as her furs and jewels, with
insouciance, Miss Stanwyck runs afoul
of a murder in the first scene. Almost
immediately after that she bangs into
Hank Fonda, who's a newspaper man;
and there you have the setup. Corpses
continually disappear, but through it all
strides Barbara and her clique of good-
looking, wise-cracking pals, all deter-
mined to clear up the mystery. The
dialogue is fresh and naughty; and the
plot is so well turned you really will
have trouble guessing whodunnit. Sam
Levine and Frances Mercer contribute
and Fonda is engaging as always.
FIVE OF A KIND— 20th Century-Fox
UNE cannot help feeling here that Mr.
Zanuck is resting on Papa Dionne"s
laurels. The Quints are box office in
themselves and little effort is made to
dress up the picture. There's a news-
paper feud idea, with Claire Trevor and
Cesar Romero as the principals, and
something about a faked birth of sex-
tuplets. If you enjoy watching the
Quints toddling about, squealing, and
being almost five years old, okay; oth-
erwise it's waste. Jean Hersholt still
plays Dr. Dafoe.
• THE CITADEL— M-G-M
"T
I HE CITADEL,'' as a book, touched
the hearts of millions; and now Metro,
working with English stars in an Eng-
lish studio, has made a compelling, pow-
erful motion picture of it. Robert Donat
plays the young doctor who has ideals
about medicine and stews in poverty
until the easy way out presents itself.
This is an expensive rest home for hy-
pochondriacs and here he prostitutes
his talent until his best friend dramati-
cally shows him the light. Admittedly,
the doctor's regeneration is a little too
pat; but you will like Donat's work and
that also of Rosalind Russell, who plays
his wife in the best role of her career.
King Vidor directed, drawing with sure
finesse every iota of drama, pathos and
laughter from every scene. Best sup-
port is given by Ralph Richardson, as
the drunken, cynical, honest surgeon
who brings Donat to his senses.
"7/Uf"7kU SiaA4f Way to
Pleasant, Quick Relief
» An Alka-Sellzer Tablet in a glass of water
makes a sparkling alkalizing solution, con-
taining an analgesic (sodium acetyl salicy-
late). When you drink it. it gives relief in
TWO ways — quick relief from the pain and
discomfort and relief from
the excess acid condition so I
i associated with cont-
M ailments.
AT ALL DRUG STORES
30c-60c
Pkgs.
YOU CAN WRITE AND
SELL YOUR FICTION
Thru "MASTER PLOT BUILDER- A Cniui at Your FlntartJp*
Anuiim Details FREE. tXpt. 65
morgan publishers
Hohm Bldo. «h at Wrsttrr. LnAnalnCv
Learn Profitable Profession
, in OO days at Home
ff-ien of Swedish Muntt run *» huh *■ MO to
$70 p*r week but m»njr prefer to open tbfir own o*-
-i* ir,r-.n>p# from Doctor*, hospital*. a»au-
■»
Writ* f r Anatomy Chart* and I
FREE.
THE CoiM-t* •! Swedith Mnufi
1WJ1 Warren Blvd.. Dept. 1(7. Ch.t *••
1 T U E b ^ ^ _.„1(J leisure
■Hje «25et priced j. q * th0
•*f ' V^ts SHOC£adqu°rters
vel v-Xned s°\e J a\atnor hcX, conuast-
cushion|°{ind tiorn q>° v„th con OI
se°s°n^ne « *£ w\.d b*a,£'YSur *j£
Bo* 2i'r" ^
JAN U ARY, 1939
81
What Hollywood Is Thinking
I from page 59)
rey, Photoplai
let your daughter corn her I:
which all of the woman and ninety
I the men laid •' I ••
Why not'.' I've
wrote one woman star, the
mot! small d:n.Jnht.
Mainly This is a new world. A
■ not take can of haraell
kicked around," said a second
mother.
though not until she is over
eight. ' third actress, unmar-
riad hut betrothed.
And a fourth V. . it she has
enough. Kid.- ■ em much
more addlepated and irresponsible tlian
in my teens " This star is, her-
self, not yet thirty-five, but she was
earning her own living at fourteen.
While most of the men declared them-
in favor of a career for their
daughters, they were a little more con-
itive in their answers.
-, but not as a fad." said one father.
'If she starts, she must see her job
through."
Among the dissenters, one young
father wrote: "At risk of appearing
horse and buggy.' I think woman's
place is in the home. We wouldn't have
a depression today if so many women
weren't competing with men for jobs!"
IF married, what is the subject you
and your husband, or wife, most fre-
quently discuss?"
To this query, twenty-six per cent of
the women said the future; thirteen per
cent, money; thirteen per cent, motion
pictures; ten per cent politics and six
per cent world affairs, with other an-
swers mentioning children, sports,
music, books, art, the "isms."
"Building toward the future is a vital
thing in marriage. Naturally my hus-
band and I talk of it most," said one
young star.
"We talk about our future. This
means in our case, our careers, because
we are both in pictures," wrote another.
"Money," wrote a third. "After all,
you can say what you will, it is money
that makes a marriage go 'round!"
One good wife wrote, commendably:
"Sports. I don't know a baseball from
a football, but my husband is crazy
about all kinds of sports and I try to
be a good wife."
A fair-sized group — sixteen per cent,
to be exact — of the married men also
said they discussed the future oftener
than anything else, but thirty-two per
cent said that money and finances held
first place in their marital conversa-
tions.
"A good many of our discussions and,
I am sad to relate, all of our quarrels
bout money," one male star wrote,
somewhat disconsolately.
"The thing is." he added, "we are
trying to save it to forestall a precarious
future and the present is too expensive
to make that project successful."
"Money and what we will do with it
is our favorite topic." said another, con-
fiding, also, that: "My wife is non-pro-
nal and I never made very much
until so recently that it still is a very
novelty."
Other favorite topics of discussion, ac-
cording to masculine players questioned,
were world affairs (sixteen per cent
listed this topic), home building, music,
pictures, children and social theories.
Disregarding these, however, one
bridegroom said, with rcfreshir * hon-
esty: "We discuss ourselves. Nothing
else seems quite as important two
months from your wedding <i
In
i ing Photoplay's fifth
tioii, the 11 in point of view be-
tween the average Hollywoodita and
Mr. and Mrs. America, concerning
final I parent.
"H'/idt do .v<"i conaider an adequate
income for marriage'" PHOTOPLAY asked.
"At least $100.00 a week' said fifty-
' .'f tlu> Women and fifty-
.tiid one-half per cent of the men!
A pretty high figure, you pro'
Certainly. But incomes are high in the
picture business compared to those of
Other industries. And so $100.00 a week
looks to the average screen player
about the same as $35.00 to anybody
else. Moreover, when you consider the
extra expenses anyone in the movies
has — photographs to fans, fine clothes
to be "seen" in, the countless expenses
of "keeping up appearances" — $100.00 a
week is about the same as $35.00 a
week, or perhaps less.
Sliding down the scale, thirty-three
per cent of the women chose $50.00 a
week as an adequate income for mar-
riage, while only nine per cent selected
$75.00 a week. Three per cent selected
between $25.00 and $35.00. A few more
said: "It depends upon station in life
and demands from outside interests";
still others, that anywhere between
$25.00 and $50.00 would be fine for a
childless couple, but that for each child
children. This would provide funds for
insurance, education, doctors' bills and
/encies," wrote another.
"As low as $30.00 a week, but it should
be sure!'' said another. He is a big
star now, but a few years ago he was
broke and hungry.
Of all who answered this question,
only one, a woman, put the sum above
an approximate $5,000.00 a year. She
is the daughter of well-to-do parents
and a ranking star. Her figure was —
and understandably, after all— $10,000.00
a year.
Of the women who thought $100.00 a
week necessary for marriage, two-
thirds were married; of those who chose
$50.00 a week or less, only one-fifth.
Four-fifths of the men who specified
$100.00 a week were married, as were
two-thirds of those who selected $75.00.
Only a fraction of the men who thought
$50.00 a week adequate were married.
PHOTOPLAY'S sixth question was, log-
ically: "Do you save a certain per cent
of your income regularly?"
In response, eighty-four per cent of
the feminine contingent said yes, and
eighty-five per cent of the men.
"Of course," wrote one feminine star,
"i'd be a fool not to. My big income
can't last forever."
But, "Save? Tell me how!" wrote
HOW WELL DO
yOU KNOW YOUR HOLLYWOOD?
Check
your answers to the statements
on page 69 with these correct
ones:
1.
Kay Francis,
8. Janet Gaynor,
15. Douglas Fairbanks,
Miriam Hopkins
Norman Foster
Jr.
2.
3.
4.
5.
Mae West
Ann Harding
Myrna Loy
Claudette Colbert
9. John Barrymore
10. Lionel Barrymore
1 1 . Joan Crawford
12. Walter Huston
16. Lee Tracy
17. Claudette Colbert
18. Binnie Barnes,
Merle Oberon,
Wendy Barrie
19. Gary Cooper
6.
Ralph Morgan
13. Hugh Herbert
7.
Clive Brook
14. Doris Kenyon
20. May Robson
there should be from $10.00 to $20.00
more, weekly.
In the majority of cases, the "$100.00-
a-weekers" mentioned this sum because
it would allow a margin for saving.
"The future is precarious, especially for
a movie actress," announced one,
frankly.
One of the "$75.00-a-weekers" pointed
out that she thought she and her hus-
band could get along on less, but that
this much money meant "freedom from
worry and possible squabbles over
money."
Taking a rather different and not un-
sound point of view, one young actress
suggested as adequate, "any steady in-
come."
Besides the fifty-five and one-half
per cent of the men who stipulated
$100.00 as the lowest sum on which a
married couple can live satisfactorily,
there were the seventeen per cent who
chose $75.00 a week; the ten per cent
who said $50.00; the ten per cent who
declined to set a figure on the grounds
that circumstances alter cases, and the
small group who mentioned $35.00 and
$30.00.
"I need to make a hundred bucks to
keep things going right!" wrote one
married actor. "I've made less and
we've lived on it, but I wouldn't call it
adequate. Women are too expensive
and a man likes his wife to have what
she wants."
"At least $100.00 a week if there are
one perturbed contract player. "It costs
me money to be in pictures!" This
player, a beginner, has a private in-
come. Apparently, she needs it.
Eighty-five per cent of the men also
save something regularly, Photoplay's
questioning revealed.
"I have a business manager and he
makes me save, whether I like it or
not," declared one, recently risen to
stardom.
"I should save, but I'm married and
have two kids and I can't," wrote one
of the small per cent who revealed him-
self sails a savings account.
Of the women who said they saved
regularly, two-thirds were single. Of
those who admitted they did not save,
three-fifths were married. Among the
men, approximately half boasting sav-
ings accounts were single. All of the
men who said they could not save
money were married.
EXTENDING its survey to embrace
other phases of modern existence,
Photoplay then asked: "Were the time
and moyiey spent on your educatiem
worth while?"
"Yes!" declared eighty-seven and
one-half per cent of the women, but
only sixty-two and one-half per cent
of the men.
"I went to school only a few years.
I wish it could have been three times
that long!" wrote one feminine star.
"Not much money was spent for my
education, but, as usual, the best things
in life are free!" said a second. "Cer-
tainly," she added, "the time spent was
worth it and then some!"
On the other hand, "I went to a so-
called "smart finishing school'," said one
of the minority dissatisfied with the re-
turns on their educational investment.
"All I learned to do was to ride horse-
back, balance a teacup and look bored
at any given social event! My real edu-
cation has come since I began to make
my own living. . . . And how!"
"Definitely!" wrote a large group of
men who felt satisfied with their edu-
cation. However, others in this class
qualified their approval.
"Well — yes," wrote one, "but college
less grammar and high school."
"No!" announced one of the mascu-
line critics of modern education. "I
was trained to be an electrical engineer,
but I had a job in a filling station before
the movies got me!"
I ROM education, Photoplay turned to a
question omnipresent in contemporary
thought, to wit: "What do you think
constitutes the greatest danger of an-
other world war?"
Here, for the first time, the women
proved hesitant about answering, with
twenty-five per cent either leaving the
space after this question blank or say-
ing, frankly: "I don't know." The next
largest group — twenty-two per cent —
chose Fascism. After that came Commu-
nism, greed of dictators, bad economic
conditions, aggression, overpopulation
and discontent. In selecting Fascism
and Communism, many expressed be-
lief that attendant disregard of the
church and principles of Christianity is
far more dangerous than other phases of
these "isms."
"The arrogance of rulers has been a
vital factor in war-making of the past,
and history repeats itself," wrote sev-
eral others, in effect.
Without exception, the men had an
answer to this question, with twenty-
three per cent choosing dictators as the
most formidable menace to peace; sev-
enteen per cent selecting Fascism, its
principles as well as dangerous greed of
dictators; ten per cent, propaganda;
eight per cent, Communism; and the
rest being fairly well divided in the
choice of dictators, capitalism, overpop-
ulation, upset economic conditions and
"popular hysteria."
"All the 'isms' are dangerous," wrote
another. "People should pay more at-
tention to the blessings of democracy."
"Propaganda, carefully dished out by
the Allies, led us into the last war. It
will do it again if we are not careful,"
said a third, considering, particularly,,
America's position in the case of war
"A
HRE you interested, personally, in any
of the outstanding social theories, such
as Communism?"
To this inquiry, seventy-five per cent
of the women and sixty-seven per cent
of the men said no.
"No 'ism' but Americanism interests
me!" said many of both sexes, emphat-
ically.
"No! And it's too bad more people
don't pay less attention to Communism
and such and more to the principles of
democracy!" said others.
Several were specific. "Neither Com-
munism nor Fascism!" they said.
"No, I am an American!" announced
one of the men, tersely.
Another thoughtful male star, taking
a somewhat broader view of the ques-
82
PHOTOPLAY
tion, said: "Democracy is, in reality, an
'ism.' I am vitally interested in Democ-
racy. The others, only academically."
The majority of both sexes who said
yes to this question qualified their an-
swers by saying they were interested in,
but not in sympathy with, the two out-
standing 'isms' — Fascism and Commu-
nism.
"I am interested! I believe that the
more thoroughly grounded I am in
knowledge of these social evils, the more
easily I can combat them!" was one
answer.
Another: "Yes, in the sense that from
studying all social theories we may
achieve a truer and happier democracy.
I do not believe that ignorance is bliss!"
President roosevelt was the
choice of forty-nine per cent of the
women and fifty -five per cent of the
men in answer to the query: "Whom do
you consider the outstanding figure in
world affairs today?"
Hitler was next, chosen by thirty-
three per cent of the women and thirty-
one per cent of the men. British Prime
Minister Chamberlain was the selection
of twelve and one-half per cent of both
men and women. Mussolini was men-
tioned by many, but always jointly with
Hitler. Henry Ford, Douglas Corrigan,
Walter Winchell came in for a vote or
two, each, from the women; Thomas
Dewey and Charles Lindbergh were
mentioned by the men.
"President Roosevelt because, while
he has made mistakes, his combined
idealism and ability are outstanding,"
said a feminine player.
"President Roosevelt because he is
president of the United States — not be-
cause he is a great man," said several
of the men.
Unanimously, Hitler was chosen, not
because of personal greatness, but be-
cause of his unique position of power.
"I hate him, but I can't ignore him!"
said one of the women who put him
first in importance.
"Hitler and Mussolini because of their
threats to democracy," said another.
The men seemed a little less resent-
ful of the German Fuehrer, but equally
inclined to rate him as a world menace.
"His attitude is similar to Napoleon's.
He thinks he cannot be beaten," said
one.
Choice of Chamberlain, without ex-
ception, was because of his contribution
to world peace.
"He acted in the interests of his own
country first, which was right. But he
never forgot the welfare of the world,"
was one comment.
"I believe his ideal of peace at any
price to be right. Nothing — no country's
so-called 'territorial integrity' is worth
the sacrifice of human life in war," was
another.
The feminine star who voted for
Winchell said, frankly: "I chose him
because he is a great influence in my
particular world — that of the stage and
screen."
I HE question put last by Photoplay
was: "Do you go to church regularly?
. . . Occasionally?"
To this fifty-nine per cent cf (he
women said occasionally; twenty-two
per cent regularly, and nineteen per
cent not at all. The men's answers were:
seventy-two per cent occasionally; fif-
teen per cent regularly and twelve per
cent not at all.
"I only go occasionally, but my re-
ligion is always with me," remarked
one woman star.
"Occasionally, yes." said a second.
"But I should go oftener. Mentally. I
do!"
"I have never thought much about
religion, but the infrequent times I at-
tend church, I get something out of it,"
admitted one of the men.
"Church every Sunday brings me a
certain peace of mind, inexplicable but
definite," asserted one young actress de-
claring regular attendance.
Another said: "I think if more people
went to church regularly, the world
would be a better place — just as I am
a better woman — for so doing."
On the other hand: "No, I do not go
to church! I used to, but found nothing
that I wanted in any of them," declared
a certain famous woman star. "I be-
lieve in God, though," she added, "and
try to practice a religion of my own."
"Neither my wife nor I go to church
anymore," admitted another, "because
we have not gotten much from it. But
we send our children to Sunday School
so that they may know what religion
is all about and pass upon its value,
themselves."
Yes — Hollywood does think about
other things besides the movies!
Film Folk Have Known
had better check on our history, Mother.
We are not really very sure that the
stories we have told about the rooms
are entirely correct." Then we had
photographs taken, in which even some
of my grandchildren picked out their
favorite stars to stand by.
HHEN I was travelling to Los Angeles
ihis spring, Louise Fazenda got up from
the table in the dining car to come to
speak to me. For a second I could not
place her, for she is one of those who,
off the stage, is more interested in her
home and her child and seems to belong
in that picture. I was particularly glad
to see her again and on this trip I had
my first real view of Hollywood and
some of its studios.
For the first time I met Shirley Tem-
ple whose praises I had heard sung
many times by Secretary Morgenthau
and Postmaster General Farley. That
young lady has a way with the gentle-
men, whether she is on the stage or off,
and I do not wonder, for she won her
way to my heart immediately. She re-
hearsed a part with Jimmy Durante as
she was told to do and then in a minute
she was dashing down to sit beside me,
asking: "How are Sistie and Buzzie?"
Her mother is, of course, to me a re-
markable person, for the child is ma-
ture in certain ways, wise beyond her
years and yet she hasn't lost the charm
of childhood.
Shirley told me in Hollywood that she
hoped to come East in the summer to
see the President, so she turned up in
Washington with her parents and
everything stopped in the Treasury De-
partment while the Secretary of the
Treasury took them through the White
House and through the Treasury. Then
she came to New York and my grand-
children, who were staying with me,
invited her to come to Hyde Park for
a picnic.
(Continued from page 11)
Sometimes children are sharper crit-
ics of their own age than we elders,
but she won her place that day as far
as all the children were concerned. We
had to have some pictures taken be-
cause her own company wanted them,
and she accepted the fact that this was
work, and must be done, even telling
me how I should walk and where I
should stop! When that was over, she
let her mother go through the tedious
performance of pinning up her curls
and putting on a bandana. After that
she was free to play with the children.
My two hung outside the door while
her hair was being arranged and it
must have been tantalizing to have
them ask every few minutes: "Aren't
you ready, Shirley?" She never com-
plained and when I asked her later if
having to be so careful and take so
much care of her hair was not rather
trying, she said almost wistfully: "Yes,
but my mommie does it so well."
I have an idea that whatever she does,
she is always going to be a leader and
if I were asked to pick out the thing
which is to me most characteristic about
her, I think it would be her walk. As
the children all came trooping toward
us from the house, she was in the lead
and she remained there all the rest of
the day. She was as good as any of
them at devising games to play. She
had a grand time I think and was quite
oblivious of the fact that everybody
who could possibly make up an errand
to come to that picnic, came. We sud-
denly discovered that instead of hav-
ing rather scant service, we could have
the whole neighborhood waiting on us
that day. Our three colored maids
were supplemented by all of our neigh-
bors and, when the picnic was over, I
had one or two messages to the effect
that if they had known that Shirley
Temple was there, many people would
have come miles to see her.
That is where her mother is clever,
for she never allows anyone to make
a fuss over Shirley and she expects
complete obedience; yet she left her
free to have a good time.
Ann Gillis, who lunched with us last
winter, was too shy to say anything in
the White House, but Tommy Kelly,
aged twelve, found himself seated be-
side an army officer who took the trou-
ble to discover that Tommy did not
care so much about his acting as he did
about all the mechanics of the movies
and together they talked machinery all
through luncheon.
Long before I came to Washington
many and many an artist in the various
fields of art had sat at our table and
showed us his work and, strange to say.
my interest is just as great in the young
things struggling to begin an artistic
career along any line as it is in the
men and women at the top. It is such
a gamble when they start out. Will
they have the spark which makes them
great or not? If they have, all the
hardship which goes before will be
worthwhile to them and to those who
sensed their ability when they were
young and gave them a helping hand.
I often think what a thrill it must be
to those people who bought the first
Van Goghs. They had to have so much
confidence in their own judgment and
to find it vindicated today by the world
must give them rather a triumphant
feeling. So it must be to anyone who
discovers a genius in any of the arts.
It is said that all artists are hard to
live with because of their temperaments
and this may be so, but I know nothing
pleasanter or more interesting than a
chance to be in a mixed group of people
whose interests center in the stage or
in the wider field of some sort of artistic
expression. I like them one and all and
I am even willing to put up with a
certain amount of temperament.
DAINTY SUPPOSITORIES
FOR
I J OEM .-...when your doctor adviaea
-* feminine hygiene ... a dainty,
white, antiseptic suppository; ready
for instant use . . . melts promptly
at internal l><><|v temperature, to form
a soothing antiseptic film . . . The
modern feminine hygiene . . . freshly
scented; no other odor . . . individ-
ually sealed; untouched by human
hands until you yourself open the
package . . . sponsored by the makers
of "Lysol" disinfectant ... a box of 12,
with full directions, $1.00.
A product of the makers of "Lysol".
Copr. 1938 by Lrhn * Fink Product* Corp.. Bloomfl«!d. N. J.
REAL comfort,
Get "Sleepers"
Let your poor tired feet relax!
Knitted wool "Sleepers" arc
cozily warm, loft, noiseless
washable. Powder blue. Rose.
Foam green, orchid, and all
pastel shades. Darker cnl i
men. They're sturdy, durable.
A DELIGHTFUL GIFT!
ou'll love "Sleepers." And they
make a perfect and original gift for
friends. Convenient for travel; soft,
fashionable.
Look for "Sleepers" at notion de-
partments in m' ' send
SI. 00. State color you prefer and if
for man or lady. Attractive gift
package, sent postpaid.
RELIABLE KNITTING WORKS
2030 W. Lloyd St., Oept. 0, Milwaukee, Wis.
LIVE-
Don't Just Get Along!
Why be satisfied with just getting along when
you can easily earn the money which will give
you the things that make life worth while?
We offer you an opportunity to earn as much
as $10.00 a week in your spare time, with
an assured income for the future, as special
representative for a large group of popular
and widely read magazines. No matter what
your regular income is, or in what walk of
life you may be. you owe it to yourself to look
into our proposition.
The work is profitable, pleasant and interest-
ing and your prospects are unlimited.
No Experience or Investment
Is Required
Write today for particulars. Address your ap-
plication to
Subscription Agents' Division
Desk P139
Macfadden Publications, Inc.
205 East 42 Street New York, N. Y.
JAN U ARY
939
83
Romantic Recluse
'Hied from page I'.i)
mi'n.
And as hi
that he, himself, chooses tin
(airly
■ ichibitioni
This i--, Mr Colman agrees, a point
well taken He aaJd, Parbapi the con-
iK- further explained by
admitting that if m I an called
upon to maka nu affair
which I am attending in a private ca-
in sunk, miserably self-con-
grettably Inadequate. If, on
the other hand, n script calls for me to
do a scene in which I must stand up and
harangue ■ thousand extras, I can ha-
rangue away for hours and think noth-
ing of it. Which simply means. I think,
that as an actor I am neither inhibited
nor self-conscious; whereas, in my own
capacity as a man. I am both.
SB not much of a hand at analyz-
ing myself. But I have heard of 'split
Perhaps, in my case, the
split comes between my screen self and
my real self. I have never thought of
this before but it now occurs to me that
I may have become an actor so that I
could pretend to be the kind of a fel-
low I cannot be in real life.
"To try to explain why the sword-
swallowing hero I like to play on the
screen is so different from my unexcit-
ing self is, for me, a task almost too
difficult to attempt. T is a subject about
which I know very little. I am not
given to introspection. The majority of
my interests, apart from my work, are
active interests such as tennis, garden-
ing, sailing. Which indicates, if I un-
derstand correctly my cursory readings
of psychology, that I would be classified
as an extrovert.
'My way of living, then," concluded
Mr. Colman. "probably does date back
to my childhood. Certainly I learned,
very early in life, that to make myself
as unobtrusive as possible was to make
myself as popular as possible."
DORN in Richmond, County of Surrey,
England, Ronald Colman was the fifth
child in a family of six children. Now
a fifth child does not occupy any par-
ticular spotlight in the family circle un-
less he is in some way exceptional,
which. Ronald insists, he was not.
Of the six young Colmans the first-
born, a boy, died before Ronald was
born. There were two sisters, Gladys
and Edith, girls in their teens when
Ronald was in the nursery. Next to the
in age came Eric; four years later
Ronald was born. So that, just at the
age when the small Ronald was begin-
ning to feel the shape of his own in-
dividuality, the sisters were at the ages
when their beaux and activities de-
manded— and got — the major portion of
their parents' attention.
A small boy is never considered an
by sisters in their teens and Ron-
ald was no exception to this rule. More-
over. Erie's four years seniority placed
him in a position of overlordship to the
smaller brother, while Frieda, born
when Ronald WSJ three years old and
ned to creep into his heart and
affections as his best friend and con-
companion, was, at first, just an-
other reason for a small boy to b
quiet and out-of-the-w.v ible.
It la obvious, then, that the family
■ could not have contributed very
much to the boy's sense of sclf-im-
nce.
Charles Colman. the father and very
much the head of his family, was of the
old school which holds that children
should be "seen but not heard." Ron-
ald, a-. .1 -mall boy, was devoted t
father, but, admittedly, a little fright-
of him.
I joric Colman, whose maiden name
was FraM i'. was, as mothers usually are,
softer, more yielding than the father.
Such confidences as the naturally reti-
re to anyone he gave to her.
But the family was large and the dif-
ferences in the ages of the children
made too many demands upon the
mother for her to be able to concen-
trate for any length of time on any one
of her brood.
Ronald does not seem to recall feeling
any lack in his life because of the im-
personal bustle of the household. He
if anything, vaguely grateful for
it. He preferred to be alone. He liked
to keep his thoughts to himself. He
even insisted upon saying his bedtime
prayers to himself, feeling very silly in-
deed when a nurse or one of his sisters
or even his mother came in to overhear
his devotions. So, from infancy, we dis-
cover, he guarded his privacy as a pre-
cious and inviolable possession.
Once every month Charles Colman
took one of his sons up to London with
him to visit his offices in that city. One
1. And I was ungallantly dis-
• d when I was told that the muffins
and tea must be passed to Frieda first
'because she is a girl.'
"So, you see, I benefited greatly by
my trips to Father's offices where I
heard talk of ships coming in from" the
Straits Settlements, from India, China,
Japan. I liked the smell and color of
what I heard. I am sure that my nos-
talgia for travel was born as I listened
to that talk of ships and things ... I
assured my Father that I would be in
his business when I grew up. 'But not,'
I told him, 'in the London offices. I will
be in command of one of the ships com-
ing in from the Orient. . . .'
"I saw my first motion picture with
my father, too. It was my eleventh
birthday, I remember, and Father took
me to the old Earls Court Exhibition.
It was a catchpenny show, with bands,
whirligigs, fortune tellers — a very
dreamland of noise and excitement and
innocent baits for suckers. I loved it.
And here again my childhood 'condi-
tions' my maturity. For I have never
outgrown my passion for amusement
parks. Whenever Noel Coward is in
Hollywood we always give one evening
to the Venice Pier at Santa Monica,
where, Noel sharing my enthusiasm, we
"WHO'S BEHIND THE GLASSES?"
Answers to the Photopl
ay guessing game on
pages 26 an
d 27 are:
1. Una Merkel
1 1 . Carols Lombard
2. Ronald Colman
12. Joan Bennett
3. Spencer Tracy
13. Joan Crawford
4. Gary Cooper
14. Barbara Stanwyck
5. Robert Montgomery
1 5. Warner Baxter
6. Merle Oberon
16. Ginger Rogers
7. Virginia Bruce
17. Ann Sothern
8. Deanna Durbin
1 8. Cary Grant
9. George Brent
19. Tim Holt, Jr.
10. Mary Astor
20. Clark Gable
2 1 . Irene Hervey
month Eric would go with his father,
the next month it would be Ronald's
turn. The object of these pilgrimages
was the father's desire to implant an in-
terest in his business in one, or both, of
his sons.
The elder Colman was an importer of
silks from the Orient. And the business
was thriving enough to supply the fam-
ily with all of the comforts of living, a
few of the luxuries.
"I enjoyed those trips to Father's of-
fices tremendously," Mr. Colman re-
members. "They stimulated my imag-
ination as nothing else did. And my
imagination needed stimulating, for I
was not a very imaginative child. I
didn't care to read fairy tales. I- didn't
believe in fairies or, indeed, in any-
thing I couldn't see, touch, hear or taste.
"I remember being told by my nurse
that a certain house in our neighbor-
hood was 'haunted' and my reply was
a matter-of-fact, 'Nonsense, it just
needs a coat of paint!' I had none of
I teams by day or nightmares In-
night which delight or terrify the high-
ly-strung child.
"Nursery tea was, I am afraid, the
high spot of my day. Toward buns and
nd jam were all my dreams di-
'do' the merry-go-rounds, shooting gal-
leries, ferris wheels and so on.
"But those years ago at Earls Court
Father and I came upon an attraction
which was new, at any rate to me. Over
a cavernous entrance we saw a sign
which read: Animated Pictures. What,
I thought, were they?
"We paid our admissions and went
into an inky-black pit. Directly before
my dilated eyes an express train was
running out of the tunnel and heading
straight for the bench upon which father
and I were seated. The sensation it gave
me of narrowly escaping a violent death
did not seem to me to come under the
heading of amusement. Father laughed
when, safely out in the open air again,
I told him what I thought of this di-
vertissement. Then he said, 'This in-
vention has a future, son, watch it. It
is going to make the fortunes of a great
many people.'
"Why I remember those words so ex-
actly all these years later I can't say.
Because at the time they seemed to me
to be pretty silly. If that invention was
going to make money for people, I
thought. I would not be among them.
When we got home I told Frieda about
the pictures that move,' and earnestly
advised her to stay away from them!"
In the mind of the grown man those
early days in Richmond blend into a
comfortable pattern of days spent in
the garden with Frieda where they
shared such projects as rearing expand-
ing families of guinea pigs, making rab-
bit hutches, digging holes in the earth
in the belief that they would reach
China.
OMALL Ronald, done up in his father's
waistcoat and silk hat, enjoyed playing
doctor to the various pets. He listened
to their heartbeats through long and
porous milkweeds which imagination
easily transformed into stethoscopes;
took temperatures with a glass pendant
from a windbell which, without any
mental strain at all, became a clinical
thermometer. . . .
"Quite frequently an animal masti-
cated the thermometer," chuckles Mr.
Colman, "whereupon the 'doctor' be-
came a skilled mortician!
"Of course I went through all the nor-
mal phases of wanting to be a cabby, a
fireman on a train, a captain of a cr.r«o
ship when I grew up. Frieda and I
agreed that it would be pretty fine to
see me sitting up there above the heads
of my fares, cracking a whip and wear-
ing a battered topper. I also hoped to
become a fireman on a train. I was
thrilled whenever I saw an engine roar
past me in the night, the fires stoked
by a stalwart, half-naked man who bent
and rose again in the flames as he fed
the gigantic bowels of the monster. I
felt a very little, colorless person by
comparison. Even then, you see, I 'ad-
mired' to be a man of venturesome, vio-
lent action."
Yes, it was certainly a comfortable,
rather commonplace childhood that the
small Ronald led in the bosom of that
busy family life, on the bosom of the
rich-earthed countryside. And it was
the kind of a life which, in no sense,
prepared him for the Hollywood life, the
Hollywood ways.
The family lived well, but carefully.
The girls had their "best dresses," the
little boys had "Sunday suits" and were
taught to keep them carefully brushed
and hung away against "special occa-
sions."
"We always had plenty of everything
but we were aware that there were
limitations. We had plenty of play-
things, for instance, but few duplicates.
So that when Eric had a bike he had
to share it with me and when I had a
cricket bat I had to let him have his
turn at it. We learned to share rnd
share alike as a matter of course. Which
rather gave us the idea that one fellow
is not supposed to have more than the
other fellow.
"But that they were happy years,
those early years, of this I am sure.
Because we never thought about
whether we were happy or not. It is
only when we are unhappy that we give
any thought to it."
ClIARLES COLMAN died when Ron-
ald was sixteen. His going was not only
a deep personal grief to each member
of his family, but added to the grief
was a complete upheaval of the familiar
way of living. For the father's death
considerably reduced the family cir-
cumstances.
Ronald was recalled from the Had-
leigh School of Littlehampton, Sussex,
which he had been attending. And
there was no further talk of preparing
him for Cambridge or Oxford.
84
PHOTOPLAY
"Leaving school was no great blow to
me," Mr. Colman told me, '"although I
liked school well enough. I liked it be-
cause I felt a certain self-confidence
when I was in the schoolroom. It is the
same kind of confidence I feel now
when I am on a sound stage in a studio.
On the sound stage I am not Ronald
Colman, I am an actor with a job to do.
In the schoolroom I was not Ronnie
Colman, either, I was a scholar with a
job to do. When I can sink my personal
identity in work, I am always well con-
tent. But I had made no close friends
at Hadleieh — in fact, up to this point in
my life, Frieda and I were 'all the
friends' either of us had — there was no
Damon to my Pythias at an age when
cuch friendships are most often formed
— and so I left the school without an
emotional wrench, since the ties of the
mind break less painfully than those of
the heart.
'Soon after my father's death, we re-
moved to the outskirts of London and
I began the job of job-hunting in the
city. I was completely lacking in ag-
gression. I was one of those unfor-
tunate people born without a conspicu-
ous vocation. I didn't know what I
wanted to do or to be. I was willing
to do the first thing that turned up. In
fact, that is what I did do. For, while
I was waiting for one of my applica-
tions for a clerkship to be answered, I
ran into a chap I knew who asked me
how I'd like to do some amateur acting.
He explained that I might get a chance
in some of the plays being produced by
the Bancroft Professional Club or the
Wyndham Stage Society. These clubs
were the vogue in London at that time.
A group of would-be actors engaged the
services of a professional director, the
director coached the amateur actors and
the plays were put in for short runs at
such theaters as were available.
"I thought it might be 'fun' to act.
So I played juvenile roles, atrociously,
I am sure, in such pieces as "Charley's
Aunt," 'The Admirable Crichton," '"The
Private Secretary" and others. It was
amusing. But I had not the slightest
idea of becoming an actor. There was
in my mind an instinctive barrier
against such an idea. I think my father
would have hated it had he known.
"I went to the theater quite often in
those days, too. And I suppose that the
great personalities of the London stage
then, Mr. Lewis Waller, Charles Wynd-
ham, Forbes-Robertson especially, in-
fluenced me more than I realized. But
it never occurred to my conscious mind
that I had anything in common with
their world. Any more than, looking
through a telescope, I thought I had
anything in common with the workings
of the zodiac."
IN course of time, one of Ronald's ap-
plications was accepted and he became
an office boy for the Britain Steamship
Company at a salary of half a pound
a week, some two dollars and fifty cents
in our money. He was then seventeen
years old. There followed three "inex-
pressibly dreary years" during which
time he worked his way up to the post
of junior accountant. This rise in the
world was made manifest by his en-
thronement upon an ancient three-
legged stool placed before an old black
desk. And by raises in salary which,
after three years, gave him twelve and
one-half dollars a week. He says now,
''My demands on life must have been
very modest, for I remember thinking
that it was all deadly monotonous work
but that otherwise I was doing very
well."
llURING this time the young man con-
tinued to play in amateur theatricals
for the Bancroft Dramatic Club and un-
doubtedly his escape into the world of
make-believing made his office work
endurable. He found other escapes, too.
He began to read in real earnest, and
hungrily. He read Shakespeare and the
vigor and vitality of the bard came
through to him, quickening his blood,
giving him an awareness he had not
had before. He read Scott, Bulwer-
Lytton, novels, biographies, the odes of
Keats, the sonnets of Shelley and dis-
covered a rich, abundant life. He ex-
tended his interests and activities in
other ways, too. He enlisted in the
London Scottish Regiment, an organiza-
tion similar to the National Guard in
the United States. And in the regiment,
for the first time in his life, he made
friends of his own age.
"I was shy with girls until I was past
sixteen," the man whom Hollywood has
called a "woman-hater" will tell you.
"But when I became an office boy, I
discovered that it was more comfortable
to do as the Romans did, to be one of
the fellows. And, to be one of the fel-
lows, a chap had to talk about girls and
dates and necking parties. To this end
I went to a few subscription dances
given in and around London, accepted
a few invitations to dances in the homes
of girls I met. Now and again I took
a girl to dinner and the theater. The
chief profit and pleasure I derived from
these excursions, I must ungallantly
admit, is that it gave me the right to
talk like the other fellows."
But the adolescent heart of the young
Colman was, save for the brief brushing
of a dream, left untouched. He did be-
come enamoured of a girl who lived in
his flat building. She was blond and
blue-eyed and not much more than a
child. And he never got past the stage
of silent adoration so that she is no
more than a picture framed in his mind.
But, as a picture, she remains unfaded.
At the age when he might have been
romancing, going about socially, he was
at first too shy. then too short of funds;
then, just as he had begun to overcome
these drawbacks — the War came.
Ronald Colman teas one of the first
to enlist. War strengthened a convic-
tion this sensitive man had held from
early childhood: launched him. on a ca-
reer that changed his whole Hie. The
fascinating story of his early theatrical
days, his first efforts in pictures, his
marriage —
February Photoplay
Howard Sharpe, who has created for Photoplay its magnificent biographies of Sonja Henie,
Claudette Colbert, Loretta Young, Don Ameche, Tyrone Power and Margaret Sullavan, now
tackles one of the most unusual men in Hollywood — Melvyn Douglas — whose life story in
complete detail, with exclusive pictures, begins next month
Lindbergh's Movie Contract
close friends. We flew together, he
stayed overnight at my army quarters
and, later, we were to plan, with the
help of a map spread on the floor of
my living room, the first transcontinen-
tal air passenger line across the United
States.
"Slim's" advisors knew of our friend-
ship; knew, too, that at that time he
had more confidence in the judgment of
a fellow flier than in that of anyone
else.
Accordingly, they summoned me to
New York from Montgomery, Alabama,
where I was on maneuvers with the
First Pursuit Group.
They wanted me to try to talk him
out of "this movie idea."
I flew to New York and talked with
''Slim." But his advisors had overesti-
mated my influence; underestimated
Lindbergh's tenacity. He was not to be
dissuaded.
He did permit me to accompany him
on his visits to Mr. Hearst's apartments
on Riverside Drive, where he was hold-
ing conferences with Mr. Hearst and
members of M-G-M who were submit-
ting the plans of the forthcoming pic-
(Continued from page 61)
ture for flyer Lindbergh's approval.
Before this, he had allowed no one to
go with him to these conferences. I
was asked by Colonel Breckinridge and
Harry Guggenheim. Lindbergh's two
closest friends, to note what occurred
at these meetings and to dictate a re-
port to a stenographer in Colonel
Breckinridge's office as soon as they
were over.
This went on for a fortnight. During
all that time, we were trying to per-
suade Lindbergh to give up the con-
tract.
He refused.
Ill ANY prominent men in New York
brought their influence to bear. Among
them were Daniel Guggenheim, father
of Harry Guggenheim, and Herbert
Bayard Swope, then managing editor of
the New York World.
I think "Slim" was most swayed by
the arguments of Daniel Guggenheim.
In any event, at one of the conferences.
Mr. Hearst seemed to sense a change of
heart on Lindbergh's part. He was not
unaware of the objections of "Slim's"
friends. He asked Lindbergh, plainly, if
he still wished to go through with the
contract.
Lindbergh's hesitation revealed that
he was no longer sure he wanted to
make a picture.
Mr. Hearst asked no more questions.
He did something, then, for which I
have always admired him. He brought
out the contract and tore it up in Lind-
bergh's presence.
"You are as much of a hero to me,"
he told "Slim," "as to anyone else in
the world. If you and your friends feel
that making a picture will interfere
with your career in aviation, then I
want you to know that I will be the last
man to stand i:; your way."
Had that picture been made. . . .
Well, speculation is intriguing. Many
things that lay ahead of Lindbergh
might have happened differently.
And. undoubtedly, Hollywood would
have produced one of the greatest pic-
tures of all times.
About those things, I don't know.
This is, after all, the story of how one of
the most ambitious movies of all times,
starring America's hero, Charles Lind-
bergh, was not made.
SATISFYING
G A\l E T Y
IN MEXICAN STRIPES
W lui could be more flatten!.:,
than the ilimmins effect of these Mexican stripes? Beneath
its gay exterior the 'Sicita' conceals a "urld of du»n-
rishl usefulness, grateful warmth and relaxation fur tired,
cramped nuclei, fade-proof nonliability, compactness in
the overstuffed weekend bag. "Siesla' makes a surelo-
please, sure-to-fit gift Only two sizes that s-l-r-el-c-h
lo fit the foot. Fir salt by lit 6rUtr sraaruMit flans.
11 SIIPPE8ETTE
5 2 1 6 I h \ I N G PARK ROAD
CHICAGO. ILLINOIS
£
1939 GOVERNMENT JOBS
Start 512G0 to 52100 year
FRANKLIN INSTITUTE
Dept. F171 Rochester. N. Y.
HOME RECIPE
SucceMfullu 7>ahAeni
GRAY HAIR
T)0 not let the handicap of pray
■*-' hair worry you longer. You
can now make and apply at home
a time-tested gray hair prepara-
tion, that when used as directed,
easily and quickly changes gray,
faded, or streaked hair into a
rich, natural - looking shade
whether blond, dark or auburn.
Here's the money-saving reci-
pe: Get from your druggist one
ounce bay rum. one-fourth ounce glycerine and one
box BAKBO Compound, Mix these in a half pint of
water, or your druggist will prepare it for yoa at
■mall cost. By combing this into your graying hair
twice a week a natural-looking color is soon o-
BARBO does not wash out or rub off: will not stain
the scalp: is not sticky: does not affect permanents
or waves: and has given satisfaction for over 2S
years. Try the economical BAKBO recipe today.
WAKE U P
YOUR
LIVER
BILE
Without Calomel—
And You'll Jump
Out of Bed in the
Morning Rarin ' to Go
The liver should pour out two pounds of liquid
bile into your bowels daily. If this bile is not flow-
ing freely, your food doesn't digest- It just decays
in the bowels. Gas bloats up your St
get constipated. Your whole B!
and yoa feel sour, sunk and the world lu> k3 punk.
A mere bowel mo vomer- .ithecause.
It takes those good, old Cart, r Pills
to get these two pounds of bile flowing freely and
make you fcvl '"up and up." Harmless, gentle,
yet amazin'.- in making bile flow fr- A
Carter's Little Liver 1 - at all
drug stores. Stubborn!:. .ing else.
JAN UARY, 1939
Shirley Temple's Last Letter to Santa
(Continued from page 9)
paD-barei me l».i\ t-
.mother Jimmy
And I would like t>> 1
1 pr dun]
!art (blue .iiul Mil chrek like Bill's
the cowboy at Hillsdali
1 pr G-shooti
Tb.it i-, tii wt-.ir wfa*ll I : i«Je the pony
Mr. Schcnk g.. , men
of th< I he pony Ls awful smart I
And if it's not asking to niuih I cer-
tainly would like the wardrobe that goes
with Lottie. I bought Lottie myself Jast
with money 1 mved up. But when
1 wi nt to the store after her the clerk
This doll's clothes are extra. And
I did not have enough. They are on the
4th floor so you will know and they are
in a big hatbox marked My Dates. She
I dress for every day in the week.
A blue one with a brown fur jacket (my
favorite) and a red snow suit.
LAST year I went to that store to see a
man who said he was you. But I told
mother He is not the real Santa because
he said — Well, Shirley I see all your pic-
tures— and I know you cannot do that
up at the North Pole. But mother said
He is a stand-in for Santa. I guess you
have a lot of stand-ins.
We had a swell time last Christmas.
I went to the Assistance League the day
before and they let me help push the
as and fill the baskets. Then we
went home to supper but I could not eat
much. We always have the Tree on
A big green one (I do
not like the white they smell so funny i
with elictric candles and balls on it. My
dad puts it on a turn-table which plays
Silent Night. Only it did not work last
The tree was to heavy.
Did you see the Star of Bethlehem lit
up on the pine tree outside? Sonny put
that up. He nearly fell.
We never open presents before Christ-
mas morning but one kind of opened it-
self up. There was a terrible scream in
the kitchen and we all ran out and sit-
ting right on the floor in a cage was a big
red macaw. Somebody had brought him
for me around by the back and he had
pecked through his paper covering. He
was screaming at Elizabeth May (she is
our cook) and Elizabeth May was
screaming right back at him with a
broom. My brother Jack said Haha and
the macaw said Ha ha to and everybody
laughed.
Once I got a very nice cow for Christ-
mas. It was from the children of Tilla-
mook where the cheese comes from. The
Xpressman brought it to the studio and
mother said My goodness where are we
going to keep it? We tied it to the little
fence outside my bungalow but it ate
all the tops off the flowers and the studio
gardener was pretty mad. I wanted to
take it home it was so beautiful, only
we lived in the house on 19 St in Santa
Monica then and when we phoned dad
about it he said Well it is a case of keep-
ing the cow or the car. We have not
room for both! So a milk farm man
and got it. It has little cows now.
Every Christmas morning when I was
a little girl mother woke me with sleigh
bells. Now she lets me ring them. My
dad says 5 is to early so I wait till 6.
We all go in the room together where
the family presents are (The other pres-
ents are downstairs). Granny gave me
a green sweater she knitted herself last
year. And there was the nicest kitchen
store from You with tiny jars and little
potatoes and lemons and everything for
my playhouse. I am just learning to
knit. I made my dad a tie but he has
not worn it yet. He says he is saving it.
I LOVE Christmas dinner. Sometimes
Elizabeth May lets me help. I can not
cook much xcept biscuits. I make those
on my little stove out in the playhouse.
I did when Miss Carrie Jacobs Bond
came to tea last Monday. (She is com-
ing to visit me on the set of The Little
Princess to.
But Santa when I was washing my
dishes afterwards my dog Rowdy
jumped up and broke three cups and
the tea pot cover. I would like very
much to have another tea set if it is
not to much trouble. There is a very
pretty one (blue with yellow flowers)
on the 4th floor of that store I told you
about. And in case your not in a hurry
could you just sort of look over the new
Wizard of Oz book? And some of the
Ranger series?
Mother says Christmas is a family
day so we do not go out. We play and
open presents and it is the Best day of
the year. But the next day Mary Lou
and my friends come over. We make
Christmas last the whole week! In the
evening my dad drives us around to see
all the trees lit up outdoors and they
are so beautiful. One house in Beverly
Hills has studio snow piled all over the
yard and raindeer in front. Some time
I would like to see real snow on Christ-
mas.
Did you see our wreath? A lumber
Jack man up north made it for me with
my name on it. It must have been hard
because holly pricks. People are awfu'
good. So are you. Please give all my
friends (like the cripple boy in Spokane
and the lady from DeTroit who writes
me every week) extra presents. Thank
you Santa. (O
P. S. Mother says Please do not bring
any more rabbits. I got two darling
Chinese ones last year and when we
came back from Honolulu there were 45.
Corrigan Lands in Hollywood
(CoJitinued jrom page 60)
been Doug!_s Corrigan ever since then.
He saw Doug Fairbanks once. In the
depot at San Antonio. He was standing
on the back platform of a train, famous
smile and all. There was a crowd
around him and everybody asking for
his autograph, and everybody proud as
could be that he could stand there and
look at a real live movie star.
Doug managed to get up onto that
back platform with his bundle of
papers. And when he got up there, he
couldn't think of anything to say,
couldn't think of anything to do ex-
cept offer the great man a paper.
Doug Fairbanks took the paper and
gave Doug Corrigan a dime and a
friendly smile. The boy treasured that
dime for years.
w
HEN his mother announced she was
going to take the family to Los Angeles,
Doug's heart beat so fast it almost
choked him. Maybe he'd see Doug
Fairbanks again. Maybe he'd see a lot
of other movie stars. Maybe — maybe
someday — oh, just maybe — he'd get a
job in the movies, might get a chance to
play in a picture with Doug.
Be had to forget about being a movie
actor though, because his mother grew
to run a roominghouse and
Doug had to be the breadwinner of the
famil t a job at $8 a week,
washing apricots and beans and bottles.
and in a few years he had run his
salary up to $25 a week.
He had to keep on working after his
mother died. He had to take care of his
broil ■ ter.
Be couldn't afford to wait around the
movie lots until some casting director
saw him and put him in a picture. He
had to get meat and potatoes and bread
and milk for those dependent on him.
He got a job in a lumber yard and
gave it up to work in the building line.
He was a bookkeeper, a timekeeper, a
storekeeper, a rough carpenter and an
errand boy, all in one for a time. And
then he learned to fly.
His brother and sister grew up and
married. Doug had no one to support
now but himself. And that was an easy
task. He had learned to live on very
little money. He had grown used to
eating only one meal a day, supper.
That seldom cost him more than
twenty cents, or possibly a quarter. He
didn't have to buy fancy clothes, for all
he needed in his business was a pair of
pants, a shirt or two, a pair of shoes —
and maybe a leather jacket.
He seldom saw a movie. He had no
time. He seldom spoke to a girl. He
had no time for girls. And he had al-
ways been shy with them, always a lit-
tle afraid of them.
Of course, Doug had his romances.
But they never amounted to anything —
except to make him despondent and a
little bit shyer than he was before.
There were girls he liked — maybe not
at first, but certainly after looking at
them day after day, and dreaming
about them night after night, and think-
ing about them when he wasn't ab-
sorbed in building or flying planes.
There were girls, all blonde and
pretty and petite, but they always got
away from him. Doug couldn't tell a
girl he liked her. He might feel it deep
down within him, but he couldn't bring
the feeling to the surface where the girl
could see it.
Yet maybe it was his fate to be a
movie star and thrill the millions of
girls he never had a chance to see.
Who can say no?
He attained fame in one hop. Ovcr-
nicht he became a universal hero— and
told the world he wasn't a hero, only a
misdirected aviator. Nobody believed
him and everybody saw something rare
in him: shyness, faith, diffidence. And
everybody saw humor in him and gen-
uine courage.
How could he help go into the mov-
ies? The public demanded him.
He tried to avoid his fate, but he
couldn't. He declared he would sign no
moving-picture contract. But moving-
picture people gave him no rest until
he signed on the dotted line.
He agreed that RKO might make a
picture out of the story of his life. He
half agreed — and with what reluctance
— to play a part in that picture. But,
in that case, he insisted, he wasn't to
be forced to kiss any girl for the screen.
"But wait until you see the girl we'll
put in your picture," a producer said.
"You'll change your mind then."
Doug shook his head and grinned.
That gave the producer a shock.
"You mean to tell me you wouldn't
kiss a pretty girl, just for a picture?"
Doug pointed out that he didn't kiss
girls in real life and that if he kissed
them on the screen the picture would
be untrue.
"Imagine," a bystander groaned, "he
wouldn't even kiss a girl for money.
Big money!"
Doug laughed and blushed a little.
Yes, he blushes. But he was still ada-
mant. He didn't want to kiss any girl
for the amusement of the public. And,
if he did — and sometimes a fellow will-
he didn't want a nickel for it. It didn't
seem right to take money for that sort
of thing, even if it was only acting.
To make matters certain, to insure
himself against the possibility of being
drawn into any screen embrace against
his will, Doug had a clause inserted in
his contract, a paragraph stating he
didn't have to make love to anyone
during the picture or for the picture.
He signed up with RKO for one film.
But you know how Hollywood is.
Once a fellow gets into a picture, once
he realizes he's an actor, it's hard to
turn him back into what he was. So,
it's possible, if not probable, that Doug-
las "Wrong Way" Corrigan will wind
up, not as the president of an aviation
company, like Lindbergh, but as a
movie star.
And it's possible, and probable too,
that thousands of girls will be writing
to him and asking him to send them his
photograph and waiting for his next re-
lease.
Corrigan, as a lot of writers have
pointed out, is unpredictable. So is his
future.
Right now, Doug intends to finish the
film and get some sort of aviation job.
But moving-picture officials have dis-
covered that he screens remarkably
well and that he is extremely popular
not only in the United States but all
over the world. They have listened
carefully to the impromptu speeches.
During his tour across the country,
Doug had to talk two or three times a
day. He earned the reputation of being
a natural wit. And the movie pro-
ducers liked his voice and his manner
of talking.
"He's a natural for the movies," they
insisted.
Maybe they can sell Doug that idea,
as they sold him the idea of taking a
part in this picture. Maybe they can't.
I know half a dozen men, older and
younger than Doug Corrigan, who
would give their right eyes, if they had
to, for the chance RKO is giving him.
So do you. Maybe you know a hun-
dred, or a thousand.
Nobody knows what Doug will do or
won't do. But wait until he's a little
better adjusted to Hollywood. Then
you can judge more accurately which
way "Wrong Way" will fly.
86
PHOTOPLAY
Casts of Current Pictures
•ANGELS WITH DIRTY FACES" —
Warvers. — Screen play by Warren Duff and John
Wexley. From a story by Rowland Brown. Directed
by Michael Curtiz. The Cast: Rocky Sullivan,
James Cagney; Jerry Connelly. Pat O'Brien; Frascr,
Humphrey Bogart; Laury Ferguson. Ann Sheridan;
Crab, Hunt* Hall; Pasty. Gabriel Dell; Hunky.
Bernard Punsley; Soapy, Billy Halop; String,
Bobby Jordan; Bim, Leo Gorcey; McKcefer,
George Bancroft; Steve, Ed Pawley; Soapy's
Mother, Vera Lewis; Maggione Boy, Eddi? Syra-
cuse; Detective, Jack Mower; Detective, Lee Phelps;
and the Boys' Choir of St. Brendan's Church.
"ARTISTS AND MODELS ABROAD"—
Paramount. — -Screen play by Howard Lindsay.
Russel Crouse and Ken Englund. Original story
by Howard Lindsay and Russel Crouse. Directed
by Mitchell Leisen. The Cast: Buck Boswell, Jack
Benny; Patricia Harper, Joan Bennett; Mrs. Isabel
Chanting, Mary Boland; James Harper, Charles
Grapewin; Chickie. Joyce Compton; Swif'y. Dopey,
Jimmy. Kelly. The Yacht Club Boys; FJiot Win-
throp, G. P. Huntley; Punkins. Punkins Parker;
Becky, Sheila Darcy; Red, Yvonne Duval:
America, Gwen Kenyon; Jersey, Joyce Mathews;
Dodie, Dolores Casey; Kansas, Marie DeForrest;
Madame Brissard, Adrienne D'Ambricourt; Briss~
3rd, Andre Cheron; Cabby, Louis Mercier; Porter.
Louis Yan den Ecker; Grocery Boy, Charles de
Ravenne; Waiter, Joseph Romantini.
■ BLOXDIE" — Colvmbia. — Based on the char-
acters created by Chic Young in the comic strip of
Lhe same name. Original screen play by Richard
Flournoy. Directed by Frank Strayer. The Cast:
Blondie. Penny Singleton; Dogwood. Arthur Lake;
Dot, Dorothy Moore; Baby Dumpling, Larry
5imms; Alvin, Danny Mummert; Chester, Gordon
Oliver; Blondie's Mother, Kathleen Lockhart;
Hadip, Gene Lockhart; Elsie, Ann Doran.
"BROTHER RAT" — Warners. — Screen play
>y Richard Macaulay and Jerry Wald. From the
play by John Monks, Jr., and Fred F. Finklehofife.
Directed by William Keighley. The Cast: Joyce
Winfrey, Priscilla Lane; Billy Randolph, Wayne
Morris; A. Furman Townsend, Jr., Johnnie Davi>;
Kate Rice, Jane Bryan; "Bing" Edwards, Eddie
Mbert; Dan Crawford. Ronald Reagan; Claire
Adams, Jane Wyman; Jenny, Louise Beavers;
Zolonel Ramm, Henry O'Neill; Captain "Lace-
Irawers" Rogers, Gordon Oliver; Harley Harrington,
Larry Williams; Misto Bottome, William Tracey;
Sirs. Brooks. Jessie Busley; Slim, Olin Howland;
S'urse, Isabel Withers.
"CITADEL. THE "—M-G-M.— Screen play by
[an Dalrymple, Frank Wead and Elizabeth Hill.
>»ovel by A. J. Cronin. Directed by King Yidor.
rhe Cast: Andrew. Robert Donat; Christine, Rosa-
ind Russell; Denny, Ralph Richardson; Dr. Law-
ord. Rex Harrison; Oxen, Emlyn Williams: Toppy
leRoy, Penelope Dudley Ward; Ben Chenkin,
Trancis Sullivan; Mrs. Orlando, Mary Clare;
Charles Every, Cecil Parker; Mrs. Thornton, Xora
Swinburne; Joe Morgan, Edward Chapman; Lady
taebank, Athene Seyler; Mr. Boon, Felix Aylmer;
Vurse Sharp, Joyce Bland; Mr. Stillman. Percy
^arsons; Mrs. Page, Dilys Davis; Doctor Page, Basil
Jill; Dr. A. H. Llewellyn, Joss Ambler.
"FIYE OF A KIXD"— 20th Century-Fox,—
Original screen play by Lou Breslow and John
Patrick. Directed by Herbert I. Leeds. The Cast:
Vhe Dionne Quintuplets, Themselves; Dr. John
luke. Jean Hersholt; Christine Nelson, Claire
[Yevor; Duke Lester, Cesar Romero; Jim Ogden,
slim Summerville; Dr. Scott Williams, Henry Wil-
oxon; Libby Long, Inez Courtney; Asa Wyatt,
Fohn Qualen; Mrs. Waldron, Jane Darwell; Eleanor
Kingsley, Pauline Moore; Dickie, John Russell; Dr.
3runo. Andrew Tombes; Sir Basil Crawford, David
rorrence; Nurse Corday, Marion Byron; Andrew
rordon, Hamilton MacFadden; Rev. Matthew
Brand, Spencer Charters; Editor Crane, Charles D.
Srown.
"GREAT WALTZ. THE"— M-G-M.— Screen
)lay by Samuel Hoffenstein and Walter Reisch.
Driginal story' by Gottfried Reinhardt. Directed be-
fallen Duvivier. The Cast: Poldi Yogelhuber, Luise
lainer; Johann Strauss, Femand Gravet; Carta
Conner, Miliza Korjus; Hofbauer, Hugh Herbert;
Count Hohenfried, Lionel Atwill; Kienzl, Curt Bois;
Judelman, Leonid Kinsky; Cellist, Al Shean; Mrs.
'iofbauer, Minna Gombell; Schiller, George Hous-
on; Yogelhuber, Bert Roach; Mrs. Yogelhuber,
Jreta Meyer; Dommayer, Herman Bing; Mrs.
ttrauss. Alma Kruger; Franz Josef, Henry Hull;
Yertheimer, Sig Rumann; Coachman, Christian
tub.
"HARD TO GET"— Warn-ers.— Screen play
>>' Jerry Wald, Maurice Leo and Richard Mac-
lulay. From an original story' by Wally Klein and
[oseph Schrank. Directed by Ray Enright. The
:ast: Bill, Dick Powell; Margaret, Olivia de
iavilland; Ben Richards, Charles Winninger;
^oscoe. Allen Jenkins: Case, Melville Cooper;
Connie, Bonita Granville; Mrs. Richards. Isabel
leans; Stanley Potter, Grady Sutton; Atwater,
rhurston Hall; Burke, John Ridgely; Hallie, Penny
singleton; Judge Harkness, Granville Bates; Shaff,
lack Mower.
"INSIDE STORY"— 20th Century-Fox.—
screen play by Jerry Cady. Based on a story by
3en Ames Williams. Directed by Ricardo Cortez.
rhe Cast: Barney Callahan, Michael Wlialen; June
Y-.i'c. Jean Rogers; Snapper Doolan, Chick Chand-
er; Gus Brawley, Douglas Fowley; Paul Randall.
lohn King; Aunt Mary Perkins, Jane Darwell;
Eunice, June Gale; Uncle Ben Perkins, Spencer
Charters; Whitey, Theodore von Eltz; Collins, Cliff
-lark; J. B. Douglas, Charles D. Brown; District
Attorney. Charles Lane; Flora. Jan Duggan; Dora,
-ouise Carter; Hopkins, Bert Roach.
"JUST AROUND THE CORNER" — 20th
:e>.-tvry-Fox. — Screen play by Ethel Hill. J. P.
VIcEvoy and Darrell Ware. Directed by Irving
"ummings. The Cast: Penny, Shirley Temple; Jeff
Hale. Charles Farrell; Kitty, Joan Davis; Lola,
\manda Duff; Corporal Jones, Bill Robinson; Gus,
Bert Lahr; Waters, Franklin Pangborn; Aunt Julia
Ramsby. Cora Witherspoon; Samuel G. Henshaw,
Claude Gillingwater. St.; Milton Ramsby, Bennie
Bartlett; Reporter, Hal. K. Dawson; Candid
Cameraman, Charles Williams; French Tutor, Eddy
Conrad; Henshaw' s Assistants, Tony Hughes and
3rville Caldwell; Gwendolyn. Marilyn Knowlden.
"LISTEN. DARLING" — M-G-M. — Screen
play by Elaine Ryan and Anne Morrison Chapin.
Story by Katherine Brush. Director, Edwin L.
Marin. The Cast: "Pinkie" Wingate. Judy Gar-
land; "Buz:" Mitchell, Freddie Barthilomeiv;
Dottie Wingate, Mary Astor; Richard Thurlmc,
Walter Pidgeon; J. J. Slattery. Alan Hale; Billie
Wingate, Scotty Beckett; Abercrombic. Barnett
Parker; Mr. Drubbs, Gene Lockhart; L'ncle Joe,
Charley Grapewin.
"MAD MISS MANTON. THE"— RKO-Radio.
— Screen play by Philip G. Epstein. Story by
Wilson Collison. Directed by Leigh Jason. The
Cast: Melsa Manton. Barbara Stanwyck; Peter
Ames. Henry Fonda; Lieut. Brent, Sam Levine;
Helen Frayne, Frances Mercer: Edward Norris.
Stanley Ridges; Pat James, Whitney Bourne; Kit
Beverly, Yicki Lester: Lee Wilson, Ann Evers; Dora
Fenton, Catherine O'Quinn; Myra Frost, Linda
Terry; Jane, Eleanor Hansen; Hilda, Hattie
McDaniels; Sullivan. James Burke; Bat Regan, Paul
Guilfoyle; Frances Glesk. Penny Singleton; Sheila
Lane, Leona Maricle; Gloria Hamilton. Kay Sutton;
Mr. Thomas, Miles Mander; Subway Watchman,
John Qualen: D. A.'s Secretary, Grady Sutton: Mr.
X, Olin Howland.
" MEN WITH WINGS"— Paramount.— Screen
play by Robert Carson. Directed by William A.
Wellman. The Cast: Pat Falconer, Fred Mac-
Murray: Scot! Barnes, Ray Milland; Peggy Ranson,
Louise Campbell; Joe Gibbs, Andy Devine: Hank
Rinebow, Lynne Overman; Hiram F. Jenkins,
Porter Hall; Nick Ranson, Walter Abel; Martha
Ranson, Kitty Kelly; J. A. Nolan, James Burke:
Peggy Ranson (S yrs.), Virginia Weidler: Pat
Falconer (10 yrs.), Donald O'Connor; Scott Barnes
(10 yrs.). Billy Cook; Colonel Hadley. Willard
Robertson; Mrs. Hill, Dorothy Tennant.
"SERVICE DE LUXE"— Universal.— Screen
play by Leonard Spigelgass. Gertrude Purcell and
Bruce Manning. Story idea by Vera Casperv.
Directed by Rowland V. Lee. The Cast: Helen
Murphy, Constance Bennett; Bob Wade. Vincent
Price; Robinson, Charlie Ruggles; Pearl, Helen
Broderick; Audrey, Joy Hodges; Bebenko, Mischa
Auer.
"STORM. THE"— Universal.— Screen play-
by Daniel Moore, Hugh King and Theodore Reeves.
Directed by Harold King. The Cast: Bob Roberts,
Charles Bickford; Jack Stacey, Preston Foster;
Captain Cogswell, Barton MacLane; Jim Roberts,
Tom Brown; Peggy Phillips. Nan Grey; Third Mate
Hansen, Andy Devine; Peter Carey. Frank Jenks;
Captain Kenny, Samuel S. Hinds; Bill Kelly,
Joseph Sawyer.
"SUBMARINE PATROL"— 20th Centurv-
Fox. — From a story by Ray Milholland and
Charles B. Milholland. Screen play by Rian James.
Darrell Ware and Jack Yellen. Directed by John
Ford. The Cast: Perry Townsend, Richard Greene;
Susan Leeds, Nancy Kelly; Lieut, (j-g) Drake,
Preston Foster; Captain Leeds, George Bancroft;
Spuds, Slim Summerville; McAllison, John Car-
radine; Anne, Joan Valerie; Luigi, Henry Armetta;
Brett, Douglas Fowley; Rocky, Warren Hymer; Joe
Du~y. Maxie Rosenbloom; Professor, Elisha Cook.
Jr.; Sails, J. Farrell MacDonald; Sparks, Robert
Lowery; Irving, George E. Stone; Olaf, Ward
Bond; Mr. Pringle. E. E. Clive; Guns McPeek, Jack
Pennick; Kelly, Charles Tannen; Grainger, Harry
Strang; Johnny Miller, Dick Hogan; Rear Admiral
Joseph Mai'.land, Charles Trowbridge.
"SUEZ" — 2oth Century-Fox. — Screenplay by
Philip Dunne and Julien Josephson. Based on a
story by Sam Duncan. Directed by Allan Dwan.
The Cast: Ferdinand de Lesseps. Tyrone Power;
Countess Eugenie De Montijo. Loretta Young: Toni
Pellerin, Annabel la; Prince Said. J. Edward Brom-
berg; Yicomte Rene De Lalour, Joseph Schildkraut;
Count Matkieu de Lesseps. Henry Stephenson;
Marquis Du Brey. Sidney Blackmer; Mohammed
Alt. Maurice Moscovich; Sergeant Pellerin, Sig
Rumann; Sir Malcolm Cameron, Nigel Bruce; Ben-
jamin Disraeli, Miles Mander; Prime Minister,
George Zucco; Louis Napoleon. Leon Ames; Maria
De Teba, Rafaela Ottiano; Yictor Hugo, Victor
Varconi; Bank President, Georges Renavent; Gen-
eral Changarnier, Frank Reicher; Count Hatzfeldt,
Carlos de Valdez; Millet, Jacques Lory": M. Ferricr,
Albert Conti; Fran: Liszt. Brandon Hurst; Mme.
Paquineau. Marcelle Corday; Duchess, Odette
Myrtle; Doctor, Egon Brecher; General St. Arnaud,
Alphonse Martell; Elderly Man. Montague Shaw;
Campaign Manager, Leonard Mudi.
"SWEETHEARTS"— M-G-M.— Based on the
operetta. Book and lyrics by Fred De Gresac.
Harry B. Smith and Robert B. Smith. Screen play
by Dorothy Parker and Alan Campbell. Music by
Victor Herbert; special lyrics by Bob Wright and
Chet Forrest. Directed by W. S. Van Dyke. The
Cast: Gwen Marlowe, Jeanette MacDonald; Ernest
Lane, Nelson Eddy; Felix Lehman, Frank Morgan;
Hans, Ray Bolder; Kay Jordan, Florence Rice; Leo
Kronk, Mischa Auer; Oscar Engel, Herman Bing;
Norman Trumpet!, Reginald Gardiner; Hannah,
Fay Holden; "Dink," Allyn Joslyn; Appleby, Olin
Howland; Mrs. Marlowe, Lucile Watson; Augustus,
Gene Lockhart; Aunt Amelia, Kathleen Lockhart;
Sheridan, Berton Churchill; Brother, Terry Kilburn;
Orlando, Raymond Walburn; Harley, Douglas
McPhail; Una, Betty Jaynes; Benjamin Silver,
Philip Loeb; Concert Pianist, Dalies Frantz.
"YOUNG DR. KILDARE"— M-G-M— Screen
play by Harry Ruskin and Willis Goldbeck. From
an original story by Max Brand. Directed by
Harold S. Bucquet. The Cast: Dr. James Kildare,
Lew Ayres; Dr. Leonard Gillespie, Lionel Barry-
more; Alice Raymond, Lynne Carver; Wayman, Nat
Pendleton; Barbara Chanler. Jo Ann Sayers; Dr.
Steve Kildare, Samuel S. Hinds; Martha Kildare,
Emma Dunn; Dr. Waller Carew, Walter Kingsford;
John Hamilton, Truman Bradley; Dr. Lane Porleus,
Monty Woolley; Mr. Chanler, Pierre Watkin; Mrs.
Chanler. Nella Walker.
"YOUNG IN HEART. THE" — Selznick-
United Artists. — Based on the Saturday Evening
Post story. "The Gay Banditti," by I. A. R. Wylie.
Directed by Richard Wallace- The Cast: George-
Ann Carleton, Janet Gaynor; Richard Carleton.
Douglas Fairbanks, Jr.; Leslie, Paillette Goddard;
"Sahib" (Col. Anthony Carleton). Roland Young;
"Marmy" (Mrs. Carleton). Billie Burke; Duncan
MacCrae. Richard Carlson; Miss Fortune, Minnie
Dupree; Mr. Anstruther, Henry Stephenson; Adela
Jennings, Margaret Early; Mr. Jennings, Charles
Halton; John Dickey (in photographs), William
Worthington; Sarah, Eily Malyon; Andrew, Tom
Ricketts; Lucille, Lya Lys; Kennel Proprietor, Billy
Be van.
Pull YoursHf I '»»ci her Kaby
I have already written a book railed No More Alibi*.
It shows you how to make yourself ove
Now you have another job ahead of %
take off fifteen pounds of fat with comparative eaae.
Can you eel rid of fifteen pounds of over-
or a bump of self-oonsciousnoss? Can you build up
charm as you'd build up a thin body? Sure you can,
if you'll but read what Mama has to tell you.
That Magic Touch
My new book. Pull Yourself Together, Baby! con-
tains hundrvds of simple ways to develop clamour —
that magic touch which makes an ugly person charm-
ing ... j pretty woman fascinating ... a beautiful
E'rl simplv Irresistible. Clamour is a combination of
ains. character, charm, physical attractiveness, man-
la
the answer to the question.
rets jobs. It wins
like a mag-net. it keeps bus*
You Can Develop Glamour
And. darling, make no mistake about glamour . . .
you can acquire it . . . you can develop It. If yuu
wtsh to acquire self-assurance. poi*e and charm, get
my new book — read it from cover to cover and you'll
"^ets I've gleaned ft
rsonalities of the i
Madame Sylvia
The price of Pull Yourself Together, Saby' l« only
Sl.OO postpaid. Dent. PI. Macfaddcn Book Co., !
E. 42nd St.. New York 1 .ty.
JEAKSCOU&f
(DUET0AC01D)
SOOTHED
"My little girl started to
cough at night. Luckily we
had Smith Bros. Cough
Syrup. It worked like a
charm. Her cough was
soothed, she went to sleep
peacefully." — Mrs. H.
Fisher. Hastings, S. Y.
6 Oz. Bottle Only 60c
SMITH
BROS.
COUCH SYRUP
contains
VITAMIN A
Novel Perfumes
in a unique Redwood
box!!
Their scent is like the
essence of flowers.
A DROP or two gives a last-
ing scent; yet, so ultra-deli-
eate, F ascinarjng, alluring, aris-
tocratic. Have you ever before
seen anything like this in per-
fumes? See coupon below.
Introductory
Offer:
Four 1 dram trial bottles of
\ these exquisite $5.00 an oz.
odeurs right no w for only
You
can
imagine
Do try them!
These arc-7'llch F°'
f«r»o««»«- f »» *ry tnem: ^ D .
the curious kind of delicacy and aristocratic fragrancy of -, . „i ,
., . , . , . ,. if not 100, ij pleased
these truly superior odeurs; try them and know.
■■■■■■■■■■■•■■■■■■a o ■■■■■■■■■■■■■■ .
■ And besides
Send No Money SHI i skhk
., «_«••«• value at $1.00, we
or if you prefer, enclose 51.00 check, currency or stamps. pive vou also rjjht
PAUL RIEGER & COMPANY {Est. 1*72) * "°W ^ beamiful
28 1 Art Center Bldg., San Francisco, Calif. T**™ Redw°°°
Send me the 4 exquisite new Rieger perfumes in genuine Red- J asure c est
wood Treasure Chest on our Money Back Guarantee. made from the
I'll pay the postman □ I enclose $1.00 Q Sil"*, ?e,d7°°d
t~. r— • l— _ jre^ o{ California.
6 inches x 3 inches;
Name ■ an ideal gift.
PAUL RIEGER &
Add'**— \ COMPANY
Only one set of these 4 trial bottles with Redwood Treasure I i r., jbt21
Chesttoanyonecustcmer.Don'tmissthisveryspecialoffer;write I , ' mu
while the offer lasts. (Remember our money-back guarantee.) I z" *rt Center Bldj.,
nana ••••■•••■■■■■■■■■■■■■■■ San Francisco, Cahf.
JAN U ARY
939
87
Brief Reviews
(Continue/ from p,
GLADIATOR, THE-Columbij
■
HOLD THAT CO ED-20th CenturyFoi
• I AM THE LAW-ColumbU
■
N Y
• IF I WERE K I NG-Pir amount
I'LL GIVE A MILLION-20th Century-Fox
ii iiiIm r
: wing.
I'M FROM THE CITY-RKO-Radio
tunny in 11
■ . . lollfl
In the
musing
KING OF ALCATRAZ-Paramount
■ t their
- -I con-
P trick.
jliful through the
LADY OBJECTS, THE-Columbia
under-tandins of the problem* of
■
- .i re-
el and
• LETTER OF INTRODUCTION-Universal
drama
■
piring
... . .
hnng her pi
Fallen in lnve
Murpliy before the climax. Swell.
• LOVE FINDS ANDY HARDY-M-G-M
is his
triumi i '-nt ye.irnin
i Turner and Ann Rutherford
I the Hardy
-' me. Mother
Everybody
go. <•
MAN FROM MUSIC MOUNTAIN-Republic
lie when real
Hughes
! funny,
le. I-ots
* MAN TO REMEMBER, A-RKO-Radio
r more
' than
in who
di >pted
* MARIE ANTOINETTE-M-G-M
■ dficent
menial
I
m more, Rob rt M
mrnti t Yellow orchid* to Ibis.
MEET THE GIRLS-20th Century-Foi
which
nture,
'I.* ry.
■
■
MISSING GUEST, THE-Univtrul
.ind murmur -
MR. CHUMP-Warners
trhole
ii m about .m unemployed
dollnrs
■
MR. DOODLE KICKS OFF-RKO-Radk)
I player und
lie II nuke \"U laugh in tin
MR. MOTO'S LAST WARNING— 20th Century-
Fox
. htlv dragging film, not the best of the Molo
!'• lei l Dm Hi- lime preventi the d<
i b) RJi .it.!
. .'ini.i Field grabs ofl the p
with It'i "in. ,11." Jut
MOTHER CAREY'S CHICKENS-RKO-Radio
thful rendition of an American claaic Vou
ntimenf
widow (Fay Bainter) who takes In boardei
I her family (Anne Shirley, Ruby
■ i n and a delightful lot, Donnie
Diinagan) when tin ir livelihood i- about to he taken
from them. June* Ellison is the girls' beau, (pet.)
MY LUCKY STAR-20th Century-Fox
a loo mediocre college him. until Sonja Henle
n the iee -then thi magic.
Kngh I Impossible)
i~ i.ei again a play-
ilglil in the clutches of gold-diggei i
Hovi. 1 .ely ballet and for
her smiling H-lf. (.Vov.)
NIGHT HAWK, THE-Republic
l. on a double bill you will grab this uttle
melodrama of gangsters and iron lungs. Relax. It's
ROAD DEMON-20th Century-Fox
nturr pii tun - draling with tin I
and Ii Henry Al
.. Cambini I
lit the
ROAD TO RENO, THE-Universal
n per-
divincly, looks ditto. Ti>
ro in i Ni Lini with
Rand) Scott
->n In matrimony.
Glenda i rrell, Helen Broderick and Alan M
■
• ROOM SERVICE-RKO-Radio
The iii. el Mantes In the
that rocked Broadway, It concern- a down-at-tbe-
l.i.l producer who boards his whole company al a
hotel. /.;l . n. I t., gel any bread to put
butter on for them all. Frank Albertson, Donald
Mai Bride, Philip Loeb and the Mantes then
will have vou hysterical with laughter at moments.
SAFETY IN NUMBERS-20th Century-Fox
The Jones family in one of I iedies
in tin- series. Jun<- Carlson win-- a radio contc-t;
Ma Jones then goes on the air. swindlers step in,
the clan goes to her support and wonderful things
happen till you arc- pretty hysterical. The usual cast.
• SISTERS, THE-Warners
Myron Blinig'a novel dealing with the varying
romance- of three sifters against a San Francisco
round in the early '90*8, emerges on the
I emotional drama - of the
year. Emphasized i- the marriage of Bette 1 1
a drunken, Irresponsible newspaper man,
Flynn. Vnita Louise, Jane Bryan, Beulah Bondi and
Henry Traverf are outstanding. <>n your "must"
Dec.)
SKY GIANT-RKO-Radio
Capitalizing on the excitement incident to avia-
tion headline, this turns out to be an anemic run-
of-the-mill flying picture crammed with pseudo-
Mi \ I OF THE OWNERSHIP, MANAGEMENT, CIRCCLATK >.\\ ETC., REQUIRED BY THE
■(■ < < iNhltliSS OF AUGUST 24. (912, AND MARCH 3, 1933, oi PHOTOPLAY, published monthly
«o. Illinois, for October 1, 19JS.
Stat*" of New York I bs.
County of New York f
Before me, a notary public in and for the State and county aforesaid, personally appeared Ruth Wat I
who, having been duly sworn according to la nd Bays that she is the Editor of the PHOTO-
PLAY an<i that the following is, to the best of her knowledge and belief, a true statement of the ownership,
managemi at and >t ■ duly paper, the circulation), etc., of the aforesaid publication for the date shown in tna
Bption, required by the Act of August 24. 1912, as amended by the Act of March 3, 1933, embodied in
S W, Postal Laws and Regulations, piintcd on the reverse of this form, to wit:
1. That the names and addresses of the publisher, editor, managing editor, and business managers an-:
Publlaher. Macfadden Publications. Inc., 122 E. 42d St., New York City: Editor, Ruth Waterbury, 122 E.
42d St., New York City; Managing Editor, None; Business Managers, None.
2. That the owner is: (If owned by a corporation, its name and address must be stated and also immedi-
ately thereunder the names and addresses of stockholders owning or holding one per cent or more of total
amount of stock If not owned by a corporation, the names and addr.-s* *s ol the individual own -rs must be
i r. < ii If owned by a firm, company, or other Unincorporated concern, its name and address, as well as those
of each individual member, must be given. Owner: Macfadden Publications. Inc., 122 E 42d St.. New York
Stockholders in Macfadden Publications. Inc. iBcmarr Macfadden Foundation, Inc.. 122 E. 42d St.,
New York City; Bemari Macfadden. 122 E. 42d St.. New York City.
3. That the known bondholders, mortagces, and other security holders owning or holding 1 per cent or
more of total amount of bonds, mortgages, or other securities are: (If there are none, so state, i None.
4. That the two paragraphs next above, giving the names of the owners, stockholders, and security holders,
if any, contain not only the list of Stockholders and Security holders as they appear upon the books of the com-
it also, in cas-s where the stockholder or security holder appears upon the books of the company as
trustee or in any other fiduciary relation, the Dame of the person or corporation for whom such trustee ii
is given: also that the said two paragraphs contain statements embracing affiant's full knowledge and belief as
to the circumstances and conditions under which stockholders and security holders who do not appear upon the
books of the company as trustees, hold stock and securities in a capacity other than that of a bona fide owner,
and this affiant has no reason to believe that any other perSO on, or corporation has any interest
direct or indirect in the said stock, bonds, or other securities than as so stated by her.
5. That th» average numbi-r of copies of each issue of this publication sold or distributed, through the
mails oi otherwise, to paid subscrib rs during the twelve months preceding the date shown above is
(Thi* information is required from daily publications only.)
(Signed) RUTH WATERBURY.
Sworn to and subscribed before me this 8th day of September, 1938.
(SEAL) JOSEPH M. ROTH
Notary Public \\ i sf h< Btei County
ate Filed In N N Co No 411
N.Y. Co Register's No. 9 R 284
Commission Expires March 30, 1939
not bad. Bob Livingston plays the reporter who
t hijackeri with a respirator to help Bob
Armstrong's sick brother. June Travis is <
look I
thrills. Chester Morris and Richard Dix are the
two pilots, of course, in love with the same dame,
Joan Fontaine, who is certainly pretty. So-So.
{Oct.)
* PARADE OF DISNEY SHORTS-RKO-Radio SMASHING THE RACKETS-RKO-Radio
■ Ight ihortt, Mickey Mi
father ii the ineffable amusement in
animated carl idin.md the Hull." "The
I'gly Duckling," "Mother G Holly-
wood," ''Donald's Lucky Day," "The Pi
Pig." I Wilbur," "The Brave Little
Talloi Symphony" . • • we hope
ii and every
PRAIRIE MOON-Republic
In tin- Gene Aul the ringing >
■ ■
. .
ride without assorted bad men
I t them, but
Dm .)
RICH MAN, POOR GIRL-M-G-M
A nother
ng lilt,
Robert Youn ■• «rllh
Ruth i Inn proud I ■■»
button-cute.
A thinly veiled character study of Proaecntor
Dewey 01 New York (who said "no s,,.ip" when
permission to use his name), this lakes
Chester Morris into gang-busting with the n
exceptional support of Bruce Cabot and Frances
Mercer. P.S. The racket is smashed. (Oct.)
SONS OF THE LEGION-Paramount
iik)' , Americanism patriotically glorified in this
sentimental piece concerning a former sold',
i orably discharged and the effect of this on ins
as who wish to join the Legion. Tim Holt,
Billy Cook, Hilly Lee, Lynne overman and I
beth Patterson contribute touching momenta
SPAWN OF THE NORTH-Paramount
A high-spirited tale of friendship between two
lenry Funda Rafl I in thi
■ mi n feud - In the salmon « I
tin- i- sometimes an epic, often an error.
IDol Lamoui are "the women,"
hui Slicker, the seal, steals the show. The photog*
raphy and tighis m jn-rlj -ao is John
• STABLEMATES-M-G-M
I dm t-. tlii i- another In
lass. Wallace Beery has
again Iii id-eyi d "< hamp" rod ■ diti d
ney, with a la ,lt o| gold,
I- hi- ! I Hamilton anil \l
t support. 1
l.. . j,i. .
• STRAIGHT, PLACE AND SHOW-20th Cen-
tury-Fox
Three had men on a horse, the Ritz Brothers, skim
throui lory with their usual balml-
ihn and 1'hylli- Hr...,k
land behind the •■■■
Ethel Mermai
TENTH AVENUE KID— Republic
Cops and i played again with Bruce
urprisinnly <>n the ride of the law. You'll
remember Tommy Ryan, a youthful newcomer.
who i- finally persuaded by Cabot that then
gain in nun-. Beverly Roberts i- adequate
girl in love with the policeman.
• TEXANS, The— Paramount
The marvelous hokum of Indian raid-, stam-
pede-, blizzards and dust -torms which i>e--et a
Texas family on a trek to Kan-as with 10.000 head
of cattle after the Civil War. i- spectacularly
effective here. Joan B* ma and Randy S<
i , too dewey-eyed torn: Ice thi r romance • xritinp,
but May Robson a- the Kr.aidin.i i- -plendid. {Oct.)
• THAT CERTAIN AGE-Universal
k mi another triumph for Ueanna Durbin's
sin«inK in this story of a ynuni! uirl's infatuation for
an older man (Melvyn Douglas) and her reaction to
the pange of tir-t love In i , l<:, h , nd John Ilalli-
Deanna'e parent!
an exceptional support. Delightful, ill,,.)
THERE GOES MY HEART-Hal Roach-United
Artists
A dated story on the "It Happened One Night"
angle with Freddie March mi-cast a- the newsman
charing Virginia Bruce, an heiress bored with her
dough. Palsy Kelly i- Cinny'- shop-girl friend and
ei-t- any laughs there are. If >■
the goofy school. (Dtc.)
ir THREE LOVES HAS NANCY-M-GM
All the ingredients in this pie are A-No. 1. It offers
Bob Montgomery as an author, his old-time r61e
as sophisticate, Janet Gaynor as the naive little
country wench whom he falls in love with on a
lecture tour. Franchot Tone is a playboy pul
also nuts about Janet. The dialogue i- pari:,
good and all the principals are at their best. i.Vcw.)
• TOO HOT TO HAN0LE-M-G-M
A spectacular aaga of newareel men and an
aviatrix, filled with explosive action and suspense.
Gable is at lus exuberant best ,,. the -k- camera-
man who uses his charm to entice flyer Myrna Loy
to fake a few shot-, finally wins her from rival
Walter Pidgeon in fine style. If you liked "Test
Pilot." you'll be nuts about this sequel. (Dec.)
TOUCHDOWN ARMY-Paramount
John Howard is the smart-aleck ace football hero
who comes to West Point, takes a beating because
he isn't "regular." Mary Carlisle, the Mi
daughter, then puts in her oar. and Love and the
Army team set out to win. Straight autumn cinema.
(Dec.)
VACATION FROM L0VE-M-G-M
We thought we had said finis to screwball
comedies schooled in an asylum, hut no . . . Dennis
O'Keefe and Florence Rice arc pretty dizzy in this
one. marrying in haste and repenting in leisure.
Reginald Owen is perfect as the capitalist father
who wants miracles *>f service because he p.
taxes, doesn't he? {Dec.)
• VALLEY OF THE GIANTS-Warners
Buttressed with maRnificent natural scenery in
Technicolor and heavy action in the way ot fistic
encounters. Petel Ii. Kyne's rugged story of the
California redwoods adds up thus — boy has luml«r
projKTty, villain has mortgage, both want girl.
Wayne Morris, Charles Bickford and Claire Trevor
play their straightforward roles in character. Worth
seeing. (.Vor.)
WHILE NEW YORK SLEEPS-20th Century-Fox
■id of the roving-rep-. rter -eries this again
has Michael Whalen Scoring .is the Hip-crack news-
man solving murders. Harold Huber, a practical-
joke minded, night-club man is ,t riot; Joan V
bury and Jean Rogers sing and dance delightfully
to round up things in a snappy way. (Nov.)
• YOU CAN'T TAKE IT WITH YOU-Columbia
Prank Capra has miraculously transferred the
daffy doings of Grandpa 1 anderhof from thi
to the screen. An appealing love story, a subtle
commentary on American life filled with delicious
humor, a slick job of casting and acting — what more
do you want? Lionel Barrymore, Spring Byington,
Jimmy Stewart, Jean Arthur, ELdward Arnold,
Miacba Auer— each is beautiful.
YOUTH TAKES A FLING-Universal
There N something satisfying in this unpreten-
tious picture ot a girl's attempts to follow the adage
"the way to .1 man's heart i- through ]
JtM-l McCrea couldn't be bettei .^ the k
farmer boy who yearns foi
prettily adequate .i> the shop girl who wants a fire*
Bide. Lots oi chuck,
MALL pniWTHiG CO.
88
PHOTOPLAY
IF YOU WANT TO BE
n a
CHECK YOUR MI XL'S QUALITIES
lou want to be popular. \ou want to be liked1
. . . loved— you want to be attractive to men.
don't you? ^S ell you can be— you can acquire
glamour, charm, personality. Aou can be the
Girl in a Million. Nol by sitting back and
wishing for popularity to come your wav —
but by turning your minus qualities into plus
qualities. \es. you can be a lovely, radiant, be-
witching person if you but check your unde-
sirable traits and magnify your good one-.
Bear in mind that people aren't born with
dynamic personalities— but they acquire them
. . . they develop them. And so can you if you
know bow to go about it.
In Madame Sylvia's new book. Pull Yourself
Together. Baby! the famous adviser to the
Hollywood stars describes hundreds of ways
to develop charm, glamour, personality. In
this great book Madame Sylvia takes you
aside and points out those undesirable traits
which might be holding you back. She tells
you how to handle every obstacle that might
be in your way. She reveals all the secrets she
has gleaned from studying the loveliest per-
sonalities of the stage and screen.
Pull Yourself Together. Baby! is packed solid
with tricks and stunts which will make you
stand out from the crowd. It contains new in-
formation on how to develop a graceful, sup-
ple figure through diet and exercise. Tips on
make-up. clothes and simple ways to acquire
self-assurance and poise.
Here is a book that you will want to read and
re-read. A book that you will want to live
with, day after day. year after year. It's a
book that you will treasure as one of vour
greatest possessions.
The cost of this helpful, inspiring, profusely
illustrated book is but one dollar. Get a copv
of Pull Yourself Together, Baby! and put
yourself in the Girl in a Million class. If this
wonder-book is not obtainable at your de-
partment or book store, use the convenient
coupon at the right.
PS
If you haven't reaJ No More Alibis by
Madame Sylvia, get a copy of this na-
tional best-seller at once. This book con-
tains the very beauty treatments which
have made Sylvia a power in Hollywood.
Price ?1.00 postpaid.
w^1
■l
!
/
\
v
A
Macfadden Book Company. Inc.
Dept. P-l, 205 Ea?t 12nd St, New York, V t .
Send me the Sy K i.i of Bollywood book- cheeked below. I
enclose -
^2 Pull Yourself Together, Baby! 11.00 postage prepaid.
□ \n More Alibis. $1.00 postage prepaid.
Name
Address
Citv State
h • : ' '
' , 'S .,00
C|,cstcr
(^hesterfie
. . . and to everybody
more smoking pleasure
Chesterfield Cigarettes in their
attractive Christmas cartons
appeal to everyone. Their
refreshing mildness and better
taste give smokers everywhere
more pleasure.
Copyright 1938, Ljccnr & Mvirs ToiiAiro Co
PLAY TRUTH ANH
Hollywood Girls On
fTERED COMMANDMENTS *
s*
« «fc
than
Start.
nl over
Die gentle,
ter-Foam.
lings gently
Ju.n jood de-
uster-Foam
fit >es Super-cleansing
ful new way
xnd new surface stains.
Tttticks film which dulls the
1 1 h< slur a j the teeth.
. lids hi preventing dangerous
eid ferments which hasten decay.
» hilc such complete cleansing takes
>lace, \ on arc conscious ot a feeling ■
of delightful freshness in the entire I
mouth— and that freshness lasts!
If vou want luster that dazzles, if
you want to guard against decay in-
telligently, start using the new for-
mula. I.isterine Tooth Paste with
Luster- foam detergent.
Get it from your drug counter to-
morrow. In two economical sizes:
Regular 25e, and Double Size, 4(X,
actually containing more than '/4 lb.
of this new, mouth stimulating denti-
frice.
LAMBJ R i I'll vkm.u :al Co., St. Louis, Mo.
0^7*?2fm^
...MORE FUN FOR YOU/
Thorne Smith's Famous Topper is on the Loose
Again... with his Vanishing Girl-Friend and Her
Bag of Tricks!... Disappearing Bathing Trunks...
Driverless Taxis. ..Riderless Bicycles... Invisible
Jail-Breaks. ..Dissolving Rhumba Dancers!
ECTOPLASM runs riot and blazes a trail of
hilarity from Fifth Avenue to the French Riviera!
FEBRUARY. I 939
They Built a New America with
Glory and Guns . . . They Were
MEN That Women Could Love!
The grandest advenlure-romance
since "Cimarron" stormed the screen...
crowded with
Ui
'on and thrills!
& &
m
WALLACE
BEERY
ROBERT
IAYIOI
„., rHMtfS BICMORD
VAN OtKE II
Oif«c»«d b*
The greatest
star on thi
screen I
We decided that what this country needed was a
column. Henceforth, fellow readers, you may whet
your screen appetites on some little tid-bits direct
from the studios of Metro-Goldwyn-Mayer.
* • • *
CLASS OF '39— attention ! What is M-G-M? Answer:
The leading motion picture company.
Question: What are some of the forthcoming produc-
tions of M-G-M?
Answer:
"IDIOT'S DELIGHT" (from the famous play).
Starring Norma Shearer and Clark Gable.
"I TAKE THIS WOMAN."StarringSpencer Tracy
and presenting the new glamour girl, Hedy Lamarr.
"HONOLULU" (wicky wacky wonderful). Star-
ring Eleanor Powell with Robert Young and Burns
and Allen.
"ICE FOLLIES OF 1939" (a new idea in musical
drama). Starring Joan Crawford and James Stewart.
Question? What is the outstanding current produc-
tion of M-G-M?
Answer: "SWEETHEARTS."
• • • •
Thank you, class! Now there will be a short recess
to allow all of you to attend your nearest theatre
showing this M-G-M attraction.
GIFT- OF-THE- MONTH CLUB
All those who address Leo, M-G-M Studios, Culver
City, Cal., will receive a beautiful photograph of
Jeanette MacDonald and Nelson Eddy, the sweet-
hearts of "Sweethearts."
"Sweethearts" is dedicated to all the lovers in all the
world. This is a new idea. Pictures have been dedi-
cated to mothers, to doctors, to families, to boys, to
sailors, but never to lovers. Are you a lover? Well,
this is National Lover Month. You are initiated when
you see "Sweethearts," that glamorous and exciting
Victor Herbert musical thrill.
It was directed by Sweetheart Van Dyke, produced
by Sweetheart Stromberg and written by Sweet-
hearts Dorothy Parker and Alan Campbell.
• * * *
In addition to Sweethearts MacDonald and Eddy,
the cast includes Sweetheart Frank Morgan, Sweet-
heart Ray Bolger, Sweetheart Florence Rice, and
that trio of sensational Sweethearts — Herman Bing,
Mischa Auer, Reginald Gardiner.
• • • •
This truly big picture has been filmed entirely in
technicolor.
• • * *
Love is sweeping the country.
-A
ea
PH OTOPLA
K
LAY
>4T
°F MOTION ^
^
ERNEST V. HEYN
EXECUTIVE EDITOR
HEYWORTH CAMPBELL
ART EDITOR
RUTH WATER BURY
EDITOR
HIGHLIGHTS
OF THIS ISSUE
On the Cover — Claudette Colbert, Natural Color Photograph by Paul Hesse
Miss Colbert's costume by courtesy of Bernard Newman, Beverly Hills
Lovers Courageous — A Photoplav Brevity Marianne 13
The first of a new type of feature — a touching story of the Don Ameches
Play Truth and Consequences with Jean Arthur . . Katharine Hartley 14
Photoplay finds a new way to make those stubborn stars talk
Melvyn of the Movies Howard Sharpe 16
Beginning the vivid life of a rebellious youth — Melvyn Douglas
Hollywood Girls on Their Own Cornelius Vanderbilt, Jr. 18
The fascinating inside story of filmtown' s working girls
Love Finds a Dizzy Blonde Kirtley Baskette 21
An off-screen "Boy Meets Girl" situation catches up with Marie Wilson
Close Up of The Groarer Claude Binyon 22
Painted by a master is this hilarious picture of Bing Crosby
Shattered Commandments Adela Rogers St. Johns 24
Another in the series of "Forbidden Great Loves of Hollywood"
Symphony in Serenity Ruth Waterbury 26
A portrait of a happy wife — Myrna Loy
Like Ferdinand — He Loves to Smell the Flowers .... Sara Hamilton 28
Revealing the sentimental side of a "tough guy" — Jimmy Cagney
Photoplay Fashions Gwenn Walters 53
Bette Davis opens the fashion section of chic midseason costumes
Precocity Plus! Sally Reid 65
Meet Juanita Quigley, Hollywood's newest scene-stealer
Romantic Recluse Gladys Hall 66
The private life of a public hero — Ronald Colman
The Camera Speaks: —
Photoplay Introduces Its New Color Photographer — Paul Hesse . . 30
Victorville Rodeo 34
Another Photoplay exclusive picture story
Fashions Just for Funl 36
A gay revival of the styles of yesteryear
Catch-As Catch-Can 40
Candid calisthenics of stars with their eyes on the ball
Zaza 42
The studio decides what's right — and polite — for Miss Colbert
Boos and Bouquets 4
Brief Reviews of Current Pictures 6
PHOTOPLAY'S Own Beauty Shop Carolyn Van Wyck 8
Close Ups and Long Shots Ruth Waterbury 10
Cal York's Gossip of Hollywood 45
The Shadow Stage 48
We Cover the Studios Jack Wade 50
Fashion Letter 61
How Well Do You Know Your Hollywood? 70
Choose the Best Picture of 1938 90
VOL Ull., No. 2, FEBRUARY, 1939
Published Monthly by Macfadden Publications, Inc., 333 N. Michigan Ave., Chicago, 111. • Bernarr Macladden, President • Irene T. Kennedy,
Treasurer • Wesley F. Pape, Secretary • General Offices, 205 East 42nd St., New York, N. Y. • Editorial and Advertising Offices, Chanin
Building, 122 East 42nd St., New York, N. Y., Curtis Harrison, Advertising Manager • Charles H. Shatluck, Manager, Chicago Office • London Agents,
Macfadden Magazines, Ltd., 30 Bouverie St., London, E. C. 4 • Trade Distributors Atlas Publishing Company, 18 Bride Lane, London, E. C. 4 • Yearly
Subscription: $2.50 in the United States, $3.00 in U. S. Possessions and Territories, also Cuba, Mexico, Haiti, Dominican Republic, Spain and Pos-
sessions, and Central and South American countries excepting British Honduras, British, Dutch and French Guiana. $2.50 in Canada and Newfound-
land. All other countries $5.00. Remittances should be made by check, or postal or express money order • CAUTION — Do not tubscribe through
persons unknown to you • While manuscripts, photographs and drawings are submitted al the owners' risk, every effort will be made by this organ-
ization to return those found unavailable if accompanied by sufficient 1st class postage, and explicit name and address. But we will not be responsible
Ic: any losses of such matter. Entered as second-class matter April 24, 1912, at the post office al Chicago, 111 , under the act of March 3, 1879.
Copyright, :938, by Macfadden Publications, Inc. Registro Nacional de la Propiedad IntelectuaL
NEWS
VIEWS AND
REVIEWS
PbOTOPI x1. i\\
■ . prizes ;.. ill no longer be
• appearing on litis page.
■ OUT r,,l(i,r
not played fab with us. inasmuch as they
tubmitted and accepted checks for
pr'r.ts for them in
■ hand, many
t lucked upon this as a
department and for that reason
■ d in their spontaneous
and candid opinions concerning the
■ : picture industry, its stars or pic-
It :s^ir aim to give the public a
n exprrssing its likes and dislikes
■ ning this great industry. This is
pagi IIV welcome your
PHOTOPLAY reserves the right to use gratis
the letters submitted in whole or in part.
letters submitted to any contest or depart-
appearing in Photoplay become
the property of the magazine. Contribu-
ill not be returned. Address: Boos
and Bouquets, PHOTOPLAY, 122
12nd Street. New York, N. V.
With Wallace Beery to provide the fights and Florence Rice the
fadeout kiss, Bob Taylor comes in for another de-glamorizing
build-up in M-G-M's story of the bitter rivalry between stage-
coach lines and pioneer railroads in "Stand Up And Fight"
along being different people and letting the rest
take care of itself — just like Grandpa said to
do. Lionel Barrymore is like that, too, not
afraid of Hollywood and flops. All this cast,
including the raven, Jim, ought to have some
kind of a prize.
I'll take back what I said about that example.
When I left the show house with "God Bless
Our Home" in its proper place, I refused to go
back to the lumber yard for the rest of the
afternoon. They said they got along just as
MORE MORATORIUMS THE MERRIER
THANK heaven I've been to one picture
show that set no example anybody could
follow. Thank heaven for one show that
featured no disaster or historical epoch. For we
providers who have gone through the sixth year
of the New Deal, along with a yellow fever
epidemic, the Chicago fire, San Francisco earth-
quake, the French revolution, a simoon, a hur-
and a Texas stampede need a rest from
calamity. We even enjoy a moratorium from
wisecracks and the answers.
you guessed it. I'm talking about "You
Take I' With You." the stage play that
Kaufman and Hart the Pulitzer prize and
stuck another feather in Frank Capra's already
thered cap when be turned it into about
[ol-duro moving picture of the year.
First about the Bettings. I figure everything
in those three rooms at Grandpa Vanderhoj's
ut $150— that is if you leave out
rks Then there were no orchids,
no gin bills, no wardrobe-, noth-
bul Anthony P. KirUy's duds,
and of course being a banker, lie paid for his
and Mrs. Kirini's clothes I liked this for it got
my mind off overhead.
I like James Stewart who makes love so con-
founded eas\ You don't have to worry
whether I oomph or not, or if he made
three flops, lied be out. This chap just goes
well without me
said they would.
like Grandpa Vanderhof
K. M. Vaughn,
Tulsa, Oklahoma.
MAYBE WE'RE PUNCH DRUNK
IOU are the most attractive movie magazine
and the one which can really have effect on
movie trends. So why don't you champion some
real honest-to-goodness emoting on the screen?
When girls cry, they don't sound the way the
girls I know do when they cry — it is always a"
well-bred sniffle. Not since Clark Gable man-
handled Norma Shearer and Jimmy Cagney
pushed that grapefruit in Mae Clark's face have
the actors been anything but gentlemen or else
dyed-in-the-wool villains.
It must be against some movie law for a man
to look as though he'd like to make more than
a halfhearted pass at some luscious dame like
Hedy Lamarr or Andrea Leeds. Sure, I know
that the movies have cut down on bad taste,
thanks to Will Hays and the League of Decency,
but that ought not to keep actors from being
human enough to kiss Myrna Loy longer than
five seconds. Wouldn't you like to see someone
act like Jean Harlow, when she was an obvious,
but thoroughly satisfying wench in her screen
roles?
Your campaign for simplicity helped bring
movie audiences pictures like "Four Daughters."
How's for promoting us a little more punch and
reality?
Bob Finlay,
Glen Allan, Mass.
REELING AND 'RITH1NG AND RITHMETIC
I WANT to say something about my very spe-
cial favorite, Deanna Durbin. I am a young
fellow, eighteen years old, and am simply, un-
controllably nuts, foggy, goofy, and else-what
over this nightingale of the fillums.
I recently became a member of the Deanna
Durbin Devotees and have been doing nip-ups
ever since I received my card of membership,
which I carry with me always.
Why shouldn't I like her? When a guy de-
pends upon the movies for entertainment, he
wants the movies to give it to him. Deanna
Durbin gives it to me — right smack-dab be-
tween the eyes and the surrounding territory
of my heart. Her freshness, vitality, youthful
loveliness and extreme beauty are unsurpassed.
I heard Deanna when she made her debut on
the Eddie Cantor hour and, when Eddie said
she was only thirteen, I was ready to call him
a fibber. Who ever heard of a thirteen-year-
old singing "II Bacio" with a voice like that?
But, a thirteen-year-old did sing "II Bacio"
and with a voice like that too!
A columnist recently said "Hollywood is a
place where: Deanna Durbin gets bad marks in
arithmetic."' I knew we had something in
common!
So, I'd like to meet Deanna for the following
reasons — to see if she is as natural off screen as
on. to see if she is as lovely off as on and to
have a real talk with her.
What would she and I talk about? Arithmetic,
of course!
Arthur G. Barrett,
Norfolk, Virginia.
(Continued on page 84)
PH OTOPLAY
Ask your theatre manager for KENTUCKY
LORETTA YOUNG • RICHARD GREENE
end WALTER BRENNAN • douglas dumbrille
KAREN MORLEY - MORONI OLSEN
Photographed in TECHNICOLOR
Directed by David Butler • Associote Producer Gene Morkey • Screen P'cy by
Lamar Trotti and John Taintor Foote • From the story "The Look of Eaglei" by John Tolntor Foote
A 20th Century-Fox Picture
DARRYL F. ZANUCK in Charge of Production
BRUARY, I 939
Consult This Movie Shopping Guide and
Save Your Time, Money and Disposition
> I I
W
PICTURES REVIEWED IN
SHADOW STAGE
THIS ISSUE
Page
BLACKWEll'S ISLANO-Warners 48
COWBOY AND THE LADY. THE-Goldwyn-
Umttd Artists 88
DAWN PATROL, THE-Warnars «
DRAMATIC SCHOOL-M-G-M 88
DUKE OF WEST POINT, THE— Smill-U. A. 48
EVERYBODY'S BABY-20th Century-Fox 88
FLIRTING WITH FATE-M-G-M 88
HEART OF THE NORTH-Warners 49
LITTLE ORPHAN ANNIE-Colonial-Paramount 88
LITTLE TOUGH GUYS "IN SOCIETY"-
Universal 88
OUT WEST WITH THE HARDYS— MG-M 88
PARDON OUR NERVE— 20th Century-Fox 88
PECKS BAD BOY WITH THE CIRCUS-RKO-
Radio 88
PRISON WITHOUT BARS-Korda-Unlted Artists 88
PYGMALION-Pascal-M-G-M
RIDE A CROOKED MILE-Paramount
SAY IT IN FRENCH-Paramount . .
SECRETS OF A NURSE-Universal . .
SHINING HOUR, THE-M-G-M . .
SPRING MADNESS— M-GM . .
STORM OVER BENGAL— Republic 88
SWING THAT CHEER— Universal ... 88
THANKS FOR EVERYTHING-20th Century-Fox 49
THANKS FOR THE MEMORY— Paramount 88
THERE'S THAT WOMAN AGAIN-Columbla 49
TRADE WINDS— Wanger-United Artists . 48
UP THE RIVER-ZOtti Century-Fox .49
~r
/#' >
/
9\
~Jl
• INDICATES PICTURE WAS ONE OF THE
BEST OF THE MONTH WHEN REVIEWED
Glorifying the transcontinental air derbies in 20th Century-Fox's "Tailspin," Alice
Faye and Kane Richmond continue to float through clouds even when grounded
ALWAYS IN TROUBLE-20th Century-Fox
Jane Withers, of course, is always in hot water and gets in deeper
mily who becomes rich overnight and can't
When they become stranded on an island with smugglers.
ual wit. foils the crooks and brings her Family
back u . •
• ANGELS.WITH DIRTY FACES-Warngrs
uspense, pace and a magnificent
c »-i in. ike tin- by all odd- the best crime picture since "Scarface."
• uncompromising dory of two friends one a gangster
Pit O'Brien) — and their
n .luen- r evil ■ in a gang of young toughs (The "Dead-
to !*• appreciated. (Jan. I
• ARKANSAS TRAVELER, THE-Paramount
With ■ mi. home. pun anecdote of an itinerant
to Will Roger- becomes even more
apparcir tCf is the widow who-e new-pa[M-r BUTD8 saves
. Parker and John Beal are heart to heart and
Irving Cobb i» immense as the village constable. Family fare. (Dec.)
• ARTISTS AND MODELS ABROAD— Paramount
I multitude ol gag-.
ndition and rnough story to keep things
rolling. Jack Benny i -duccr who tries by hook
and crook to keep bis troop of beauties in Paris one jump ahead
of the p Bennett, Mary Boland and the Yacht Club
Boys -upply the fun Jan.)
BAREFOOT BOY-Monogram
l>t Jui
■ r ! in Sawyerish
mart-alec br.it-. as the vapid dialogue
would make a parent laugh
at the ur n^ n Jackie Moran,
Mae Jones. Bradley Metcaff) arc happily chosen and do
BLOCK HEADS— Hal Roach-M-G-M
Laurel .ind Hardy spread on the slap
ning m the trenches for twenty
visit his pal
ielL The lun ii immediately on
I ■
BLONDIE-Coiumbia
■ d by millions.
t be mildly important Penny Singleton is Blondu;
Arthur I
in. Dafssoo •
.ill l.iugh Jan )
it BOYS TOWN -M-G-M
Tl
'■lunding ol mmunity for
I Flanagan,
•- and
• - ' lion o
Hollywood should be proud of such a picture.
BREAKING THE ICE— Principal-RKO-Radio
It helps tremendously to have five-year-ofd figure-skater Iren?
Dare make her screen debut in this latest of Bobby Breen's singin;
pictures. Bobby, at this point a Mennonite, runs away from the
colony, joins an ice-skating troupe. Dolores Costello is nicely sac-
charine as Bobby's mother. {Nov.)
• BROTHER RAT-Warners
Made with fervor and frankness, this tale of three cadets at
Virginia Military Academy departs from the usual style of campus
drama. Wayne Morris, Eddie Albert and Ronald Reagan have
three ideas — wimmen (Priscilla Lane, Jane Wyman and Jane
Bryan) graduating, and winning the ball game. Everything is
jake at the end. A honey. (Jan.)
CAMPUS CONFESSIONS— Paramount
Betty Grable, Eleanore Whitney and Bill Henry, perennial col-
lege -eniors, scamper around, but the plot centers abaut Hank
Luisetti. basketball star, who proves that athletics belong in any
college curriculum. (Dec.)
• CAREFREE-RKO-Radio
The team of Rogers and Astaire is back, as light on their collective
feet as ever. Fred is a psychoanalyst, Ginger is his patient. Over
all their antics, and the best dance routines the couple has ever
', soar the lovely lilting melodies of Irving Berlin's latest
songs. Guaranteed to put you in a gay mood. (Nov.)
• CITADEL, THE-M-G-M
Made by the M-G-M unit in England, A. J. Cronin's touching
novel emerges as a powerful study of an idealistic young doctor
who stews in poverty until an easy way out presents itself, is later
led by his best friend and his loyal wife. The sure finesse
of Robert I3on.it. Rosalind Russell and Ralph Richardson makes
it doubly important for you to see this. iVmi.)
• DOWN ON THE FARM-20th Century-rox
Having attained the eminence bf an .Waling, the Jones Family
continue tin- attempt to catch Americana on the screen and succeed
admirably. The family's divertissements on Auni Ida's farm are
enlivened by I cornlul-king. an election and various country
that should amuse you no end. iThe caat is as u-ual.)
(L>€C.)
FIVE OF A KIND-20th Century-Fox.
One cannot help feeling that Mr. Zanuck is resting on Papa
Dionne'a laurels. The five little Quints toddle about, squc.il and
bout a faked birth of sextupleta la stupid,
( lure I Romero and Jean llersholt make up the cast.
{Jan.)
FRESHMAN YEAR-Universal
rUegc film bai U unusual twtflt — no football game! In-
Lodcnt group who m-tituie "Hunk in
mtmnoe," put on a ibow in order to pay off. Dixie l)uni> u
chonist-rxirl co-ed, William Lundlgan, i leader, t£rne*i
Trucx ih good a^ the profeatoi who tptt lltterbug. (Sov.)
FUGITIVE FOR A NIGHT-RKO-Radio
Derin ' J the weaker halt of a double bill, this rises
no higher than its aims- The story deal - with a Hollywood stooge.
Frank Albertson. who becomes embroiled in a murder, escapes with
the aid of his love. Eleanor Lynn. Not much here to cheer over. GVo».)
GIRLS ON PROBATION-Warners
The lives of two girls, Jane Bryan and Sheila Bromley, run a
close parallel as one lakes the straight road, the other the primrose
path, yet both land in prison. Attorney Ronald Reagan finally
unravels the web in which his sweetie becomes entangled. Human
and interesting. (Sov.)
GIRLS' SCHOOL- Columbia
A disappointingly heavy story of a poor sad girl (Anne Shirley)
in a rich snobbish school. Nan Grey is the meanie. Noah Beery, Jr.,
the sympathetic plumber, Kenneth Howell the poet. Something
slipped here. (Dec.)
GLADIATOR, THE-Columbia
This time Joe E. Brown wins $1500 in a bank night, goes to
college, tries out for the team with the help of a professor who
injects him with a new serum which gives Joe superman strength.
Then the riot starts. June Travis and Man Mountain Dean help
in the hilarity. For Brown fans. (Nov.)
• GRAND ILLUSION-World Pictures
Set in the grim background of German prison camps, this
French film (with English subtitles) builds a tragically honest
picture of the human side of war. Jean Gabin, Pierre Fresnay and
Eric Von Stroheim are only a few of the superb character delinea-
tion^ Fascinating. (Jan.)
• GREAT WALTZ, THE-M-G-M
To the thrilling strains of Johann Strauss' best loved waltzes, the
colorful story of the great Viennese composer's life is transferred to
the screen with Fernand Gravel as Strauss. Luise Rainer as sis
self-sacrificing wife. Miliza Korjus recent foreign import sings like
the proverbial lark. Outstanding photography and direction. {Jan.)
HARD TO GET-Warners
No problem play this, but lair amusement provided by a new
cinerornantic team. Dick Powell and Olivia de Havilland. Olivia is
a madcap heiress, Dick a gas station attendant. Plenty going on of
Icy \ariety and Dick scarcely sings a note — which is news.
(Jan.)
HOLD THAT CO-ED-20th Century-Fox
The first of the fall football collegiate musicals, this is good if
giddy entertainment. John Barrymore (swell) is the governor who
wages his campaign on the gridiron; Coach George Murphy and
Marjorie Weavei provide the romance; Joan Davis and Jack
Haley add the comedy. (Nov.)
• I AM THE LAW-Columbia
"Give em Dewey" Il Hollywood's latest clarion call, Here you
get .' film l' mslation of the N. V. attorney in the person of Ed-
ward G. Robinson, who take- .in the job of cleaning up a city in
hi- usual cyclonic style. Otto Kruger i- suave a- the vice baron,
Wendy Barrie top-notch as a "moll.' |
(Continued on page 89)
PH OTOPLAY
FEBRUARY. 1939
\
Treat yourself to a brand-new (ace
with these skillful make-up tricks bor-
rowed from Hollywood's glamorous
THE BEAUTY RACKET — "Beauty is a
racket and every woman is a gangster in
this particular racket," said lovely Irene
Dunne, who is not my idea of a gangster at all.
Irene and I had been discussing the weather,
of all things, and how it affected one's skin,
when she suddenly made the above statement.
"Well, you need protection," she explained.
"Every woman knows from childhood that
beauty is necessary in order to obtain the things
she wants from life. I don't mean that you have
to have a perfect face or figure. That isn't
anywhere near so important as a clear skin,
shining hair and perfect grooming. Any woman
can be beautiful if she has those assets. And,
as in any other racket, you have to have pro-
tection. In this case, you have to protect your
skin and hair and hands against the weather.
Against wind and cold or too much sun. That's
what I mean," she finished triumphantly.
"One's complexion is the most important, of
course," Irene went on, while I noticed that hers
was as soft and smooth as a baby's. "A good
foundation cream is an absolute necessity be-
it makes your make-up go on more
smoothly and last longer. It's also a great pro-
tection against dust and the drying effects of
wind or cold. The use of softening creams at
ni«ht also protects the skin and keeps it soft.
"Shining, healthy hair is something that any
girl can have. There's no reason at all for any-
one to have dry. unruly hair when hair can be
protei ' nst dirt by frequent thorough
shampoos or ti i teaming tonii
shampoos. And brushing and massage will
keep it shining."
If your hair is dry, protect it by oil treatments
to brine back If it's oily, try
one of the many astringent tonics on the market
IreNI bat lip ro i the pro-
tection, too. tx belps keep the lip-
drying in cold weather At night, smooth a little
white vaseline or a rich cream into your lips to
.mrl supple. If you find that your
lipstick won't go on smoothly because your lips
are chapped or dry, rub a little cream on them
before wielding your lip rouge. You'll find it's a
great help.
"Your hands need protection against dryness,
also," Irene continued. "Never use a harsher
soap for your hands than you would for your
face. Protect them by being sure to wipe them
thoroughly dry,
While you're drying them, smooth back the
cuticle of your nails to keep them in shape.
And always use a hand lotion after they've been
in water.
it's a good idea, too, to rub a rich emollient
cream into your hands at night about once a
week and leave it on all night. Wear a pair
of soft loose gloves when you go to bed so the
cream will have a chance to soak into your
hands and not into the sheets.
"Hands give away a woman's age quicker
than any other one factor, so it's up to every girl
to see that hers are always soft and young-
looking. She's protecting herself that way."
Irene glanced over at a corner of the set where
they were getting ready for the next scene.
"They'll need me in a minute," she said hastily,
"but don't forget that you have to protect the
skin against hard water when you take your
bath, too. Use softening crystals in the water
or some of those marvelous creams that you
smooth over your whole body before the bath.
They're wonderful afterward as well, to keep
the skin soft."
She got up to leave, then remembered some-
thing else. "Oh, and be sure to use a softening
cream or lotion on the elbows, so they won't be
roughened or red when you wear short sleeves
or evening gowns."
When you see "Love Affair," in which
Irene is co-starring with Charles Boyer at RKO,
y^ou'll see how well she has protected herself
against all weather depredations.
NEW HAIR-DO— Sally Eilers wasn't on the
set of "Tarnished Angel," her new starring pic-
ture at the same studio, but I found her down in
the portrait gallery and when I saw her new
hairdress I immediately demanded some por-
traits of it so you could see how very smart and
attractive it is and perhaps copy it for your-
self. The hair is brushed high off the ears, of
course, and then piled in soft rolled curls. The
lower back hair is divided in half. One half
is swept across the back of the head and the
ends curled into a soft roll. Then the other half
is brushed across that, curled in the same way,
and kept in place by a rhinestone pin.
Combing your hair across the back of your
head in this manner gives your hair a softer
and more graceful effect than if it's brushed
straight up to the top of your head. Notice
Sally's new earrings too. They follow the curve
of her ears in the most approved modern fashion
(Continued on page 81)
PH OTOPLAY
o
STARRING
CARY GRANT •VICTOR McLAGLEN
AND
DOUGLAS FAIRBANKS, JR.
With Sam Jaffe, Eduardo Ciannelli, Joan Fontaine
RKO RADIO PICTURE
Pandro S. Berman, in Charge of Production
Produced and Directed by George Stevens
Screen play by Joel Sayre and Fred Guiol. From a story by Ben Hecht and Charles Mac Ar thur
Inspired by Rudyard Kipling's poem.
?
UT of the stirring
glory of Kipling's
seething world of battle
they roar — red -blood
■t^L v .tu and gun -smoke heroes
""A all ! . . . The stalwart,
^ loyal, swaggering Ser-
geants Three . . . Rash
and reckless battalioneers, who'd rather
fight than find the lips they're always
seeking ! . . . Like towering giants astride
the bristling hills that hide the bandit
hordes of India . . Headlong through
the terrors of the Temples of Tantrapur
. . . Onward pushing the thin red line
of Empire through a land the white man
rules, but never conquers ! . . . It's big !
It's grand! . . . It's glorious! . . . No
wonder it was more than a year in the mak-
ing . . . No wonder it taxed all Holly-
wood's resources to give the screen'
a scope and a sweep and an emotional
blaze that it never has had before ! . . .
DON'T LET ANYTHING KEEP YOU
FROM SEEING IT!
I
%■ vft
THE YEAR'S BIG SHOW IS READY!
WATCH YOUR NEWSPAPERS
FOR LOCAL PLAY- DATES ! ! !
FEBRUARY, 1939
CLOSE UPS AND
LONG SHOTS
li Li .
IVi't, f"
BY RUTH WATER6URY
HAPPY NEW YEAR, Photoplay readers
... I write you that with the great surety
that for all of us who love Hollywood
and its people and its product a happy New Year
will come true ... I know the things that
Photoplay itself has in store for you and even
if I had been given no glimpse into the new
films to come, as I have, I could yet tell you that
great pleasure lies ahead for you on the basis
of the year that has passed. . . .
For in a world beset by worries, darkened
by the threat of war and bruised of heart
through the oppression of innocent peoples,
Hollywood itself has remained the one spot
where the dream of happiness has gone on . . .
not that that town has been without its troubles
. . . the loss of the European market has meant
that the margin of safety that lay before between
possible failure and fair success has been quite
wiped OUt . . . labor difficulties have 8J
making production more expensive and more
precarious . . yet, week after week, the great
pictures have come out . . . "That Certain Age"
. . . "The Cowboy and the Lady" . . . "Submar-
ine Patrol" . . . "The Sisters" . . . "Four Daugh-
M n With Wings" . . . "The Citadel"
. . . products of no one company or do one star
. . . but of all the companies and of all the stars
combined . . . the successful efforts of a great
industry to provide laughter and romance and
the surcease of tender tears. . . .
You go one night and you see the discovery
of a Nancy Kelly; you go another night and
watch, as though he were your own son or
brother, tl . sincere growth of young
Jackie Cooper . . . you worry and hope that
Mickey Rooney won't get too cocky . . . you sigh
with delighted relief when little Miss Temple
comes round again and is still just as much of a
darling as ever . . . you speculate as to whether
Ruth Waterbury
Mr. Boyer can possibly be as sultry at home as
he is on the screen ... or Mr. Gable as debonair
... or Mr. Taylor as handsome . . . such glitter-
ing people of all ages and moods to be a dream
family for all of us . . . if they have their troubles,
they are mostly hid from us, for which our
thanks . . . for it is more fun to think that all this
glamour and glory happen quite by chance . . .
though nothing could be less true. . . .
I HERE was a time, though, when it was true . . .
when big, successful pictures just happened . . .
when things were left to inspiration and to
chance . . . and there are those people still about
Hollywood who sigh and say that the "color"
is gone ... I think that is so silly . . . today's
color is different, but a more vivid, brighter,
truer color for all that. . . .
I thought cii this ,1 tew weeks back when it was
announced that Adolph Zukor, the guiding head
of Paramount pictures, was leaving his pro-
duction post in Hollywood to go to Europe . . .
I thought of Zukor. really a figure of Holly-
v. nod's past, in contrast to a man like Hal Wallis,
a typical personage of today's Hollywood. . . .
It was nearly thirty years ago that Zukor got
his first and greatest inspiration . . . that of sign-
ing the then greatest actress in the world, Sarah
Bernhardt, to do a movie called "Queen Eliza-
. . . the spectacular triumphs of
Producer Hal Wallis (above,
with two of the famous Lanes)
beth" . . . that picture and that idea were the
whole basis of the company that was to be called
Famous Players and later Paramount . . . and
that method, the sheer inspiration of an idea
that came out of the nowhere into the here, i;
typical of the way that pictures have been made
until very recently . . . Zukor was a fur sales-
man originally; Sam Goldwyn, one of the
pioneers, was a drummer in gloves . . . men
who came from the outside world into the busi-
ness of showmanship . . . today the great figures
of the industry, David O. Selznick, Darryl
Zanuck and Hal Wallis, are men who have never
known any other business than movies . . . and
of these three it may yet be revealed that Wallis
will be the greatest . . . for Selznick and Zanuck
both have temperament and to spare . . . but
Wallis works with a head as cold as ice . . . yet
one thing he has always possessed to a passion-
ate degree and that is his love of movies. . . .
He first started working in Chicago and he
never had to think twice about what he wanted
to do ... he wanted to be a movie producer . . .
but how that could be brought about he couldn't
perceive ... he knew one thing, though . . .
movies had to go into theaters, so perhaps he
could do tricks backwards ... if he went into a
theater he might get into movies ... so he got
himself a job in a Chicago movie house ... he
started as an assistant there but presently he
was the manager, and as manager he learned
everything he could about what people wanted
in movies, and how and when, and as soon as he
felt he had mastered as much as he could, he
betook himself to Los Angeles. . . .
To THE world at large Wallis is as yet little
known, for until very recently he was almost
completely hidden behind his bosses, the Warner
(Continued on page 84)
10
PH OTOPLAY
SSisT^
Assodote Producer
EBRUARY, I 939
II
;
&
aSK
VCA. Q(r&L south
. . . FEDERAL SILVER FOX, IDENTIFIED
BY THE NAME FEDERAL. . . STAMPED
ON THE LEATHER SIDE OF THE PELT
A new alliance for chic: casual, lightweight
tweed and magnificent FEDERAL Fox, in a
retort coal that is charted for another hrilliant
career, when spring comes north. Fashion puts
the stamp of approval on the fox with the
FEDER \L name stamped on the leather side
of the pell; it stands for sumptuous beaut)
and lasting loveliness. You'll find FEDERAL
Fox at smart stores throughout tin* country.
FEDERAL SILVER FOXES
HAMBURG
WISCONSIN
PHOTOPLAY
A PHOTOPLAY BREVITY
^> ■.
DRAWING BY VINCENTINI
\
He didn't move for a long
time, just knelt there with
a rosary in his hands . . .
after a time he arose and
came down the aisle . . .
then turned and said,
"Want some help, kid?"
LOVERS 1 COURAGEOUS
The first of a new type of feature which presents the true Hollywood heart-
beat in many moods — the touching story of the Don Ameches' lost dream
BY MARIANNE
THIS is the story of a movie star and of the
strange week in which Fate brought me to
know him, to know him better than most
people, even though I am but a mere acquaint-
ance. For I saw him as himself, not the smiling
actor, but as a man who played a sad part. And
I saw the revelation of a great love as it blos-
somed and grew from a lost hope.
In these paragraphs I shall tell you the simple
but deep love of Don Ameche and Honore, his
childhood sweetheart. It happened like this.
Once I saw a man kneel and pray, tears in his
eyes. At least, I thought I saw tears, but I was
crying, too, so maybe it was my own tears.
That was the day the doctors told me I would
never walk again, not normally, at least, like
other girls. So I had hobbled into the little
chapel in the hospital to ask for a miracle, but
he had my place at the Blessed Virgin's altar.
So I sat in the dimly lit pew and waited for
him to go away because I felt like being alone.
He didn't move for a long time, just knelt
there with a rosary in his hands, not counting
off the beads, merely holding it. After a long
time he arose and came down the aisle, sort of
blindly, brushing past me as though I were not
even there. He went a few steps, then turned
around and said, "Want some help, kid? . . .
It was my first meeting with Don Ameche.
I said, "No, thank you," and started slowly
down the aisle.
He appeared to hesitate for a moment, then
asked, "Sure you can make it?"
I nodded, but he stood there until I had knelt
in his place at the altar.
In the next few days, heartbreaking for the
three of us, I saw unfolded before my eyes the
great love story of Don and Honore Ameche —
(Continued on page 76)
13
A fascinating new kind of interview in which Jean Arthur answers questions truthfully —
^3
**
Leave it to Photoplay to find a new way to make those stubborn
stars talk! Remember the hilarious days when you used to play
the old game of Truth and Consequences? Someone asked you
any question in the world, usually as personal as possible, and
you had to answer with absolute truth or take the consequences
devised by the questioner. Knowing Jean Arthur's weakness for
fun, as well as her steadfast refusal to talk about personal
matters, Photoplay's Katharine Hartley dared Jean to play the
new version of this favorite old game. Jean agreed and out of
fifty-four of the most impertinent questions you'll ever read, she
failed to answer only six. So six times she had to take the conse-
quences devised by Photoplay — and what consequences! They're
all on the opposite page, each and every penalty there veri-
fied by a certified public accountant to be the real Jean Arthur
TRUTH J
WITH
JEAN
ARTHUR
1. (Q) If i 00% is perfect, how do you rate
yourself as an actress?
(A) 25'; of what I'd like to be.
2. (Q) What is your honest reaction to auto-
graph hounds?
(A) I realize autograph hounds are impor-
tant to an actor's career, for they
show her popularity with the public.
I wish I could honestly feel as the late
Will Rogers did — that the only thing
to get bothered about autograph
hounds is when they stop asking for
autographs. But I can't — not honestly
— for I'm easily embarrassed and I al-
ways feel that most of the autograph
hounds are not interested in getting
my particular autograph, but merely
in adding to their collections. And
sometimes when I'm with other per-
sons who aren't in pictures, I feel it's
bad manners on my part to delay
them by keeping them dangling
around while I sign my name.
3. (Q) Are you sorry you do not have chil-
dren?
(A) Yes, I'm sorry I haven't five.
4. (Q) Do you think you would make a good
mother?
(A) I don't know whether I would make a
good mother or not — but I do know
that I would take motherhood very se-
riously. I personally feel children
should be treated like grown-ups—
with tact, consideration, understanding,
sympathy and love, and I'd have an
awfully good time playing with them.
5. (Q) If you had your choice of selecting your
own face and figure from a group of
well-known female personalities, whom
would you most rather resemble?
(A) I can't decide between Katharine Cor-
nell and Garbo.
6. (Q) In what way have you followed a for-
tune teller's advice?
(A) I've never followed a fortune teller's!
advice for the simple reason I don't |
believe in them. Anyway, fortune
tellers rarely give actual advice. They
usually prophesy regarding the future
(Continued on page 72)
or pays a forfeit on each query she refuses to answer
ONSEQUENCES
to
Co
**e,
?</,
9fl
ce
°n
fll,
***;,
'Or
Nt
■ s,
o«^z°******z
v**fL
*>« i° c ««>«>
tftj
rOr
-t
'**,
Sj--
^
53/j
■ro^
■-..:
'$Q',
'a-Vfi
S ft-, c/? o^ *<V s*2r> -1 «:>
°"%
*a
U*
**.
:tt-
S0j-
Q-fs
'*&
'«*
"■» c*
A*
e«
*0j
■3
•^•:
c©
*t
' Po
^
r^«,
*Vi ««e, ^
-**.
e&
-\
•^
V.
yQ.
in
eJ-
'fc*
■To*
[e<
:^«
A6o
-o.
«ft
*6.
°fo*
3C
~:
^
^6
"■*.
eC
V .
c-::
^
ff
st
*1
Consequences on Question No. 15
2* ^^<AJi ---,^^ ^a-4j^ ,i£I
*L&*.
Jean's punishment for refusing to name her
favorite stars was to pose as all three char-
acters of "The Spirit of '76" (top, right).
The sketch (right, center), for those not
versed in the Arthurian school of art, is a
portrait of Jean and her dog — the forfeit
paid on "What characteristic of Hollywood
people annoys you most?". Jean's disposi-
tion is a touchy subject. Result: a picture of
her in a football uniform (bottom). If she
has ever shocked her friends, she's not tell-
ing. Penalty — a picture which looks the
least like her (center). As for the term of
endearment she uses to address her hus-
band, Jean would rather write a fan letter
to Charlie McCarthy (left) than tell. An-
other consequence (top) was meted out
when Jean refused to name the leading
man with whom she enjoyed working least
When the questions got too
personal, Jean took the above
punishment on No. 24 and the
one fer left on No. 39
s«***x"
Melvyn, at the age of two
Aged eight, after a year in Germany
1 «
OF THE MOVIES
A shatterer of conventions, a
stormy petrel struggling for freedom
— Melvyn Douglas. Beginning the
vivid story of a rebellious youth
BY HOWARD SHARPE
THE man's nervous fingers were not quite
lure Oil the keys and the particular Chopin
Nocturne he was playing thereby suffered.
Still, the familiar chords were soothing; April
sunlight came through the windows and struck
tiMtrs of rich wine in the polish of the old square
rosewood piano. From upstairs, a discordant
\v;nling sound suddenly argued with Chopin
ever a passage and, involuntarily, Professor
Edouard Hesselberg transposed to another key
— the key in which the person you have come
to know as Melvyn Douglas uttered his first cry
on this earth.
It was symbolic, since here was the birth of
discord — a brawny, lusty Discord who, even on
the first evening of his life, proved his noncon-
formism by falling on his head from a nurse's
clumsy arms and surviving with no perceptible
injury, either mental or physical. It was a tough
head. It still is. But perhaps the jolt it received
on that night thirty-seven years ago dislodged
the little normal scale which, in the brains of
most men, weighs convention with convention
to prove a stolid balance.
In any case young Melvyn turned out, to his
parents' surprise and often to their horror, to
be a renegade. He was not as other babies,
nor as other boys. Often in the quiet night —
Macon, Georgia at the turn of the century, was a
peaceful town, especially after curfew — the pro-
fessor and Lena (nee Shackleford), his good
wife, would discuss this thing. They thought
perhaps the child's mixed ancestry . . . Edouard
was Russian-born; Lena had been a Kentuckian,
with muddled English and harsh Scotch blood
cooling her veins. The combination, felt these
two artistic intellectuals, might be forming a
strange alchemy of emotion and mentality in
their son. They were wont to remember, winc-
ing, during these discussions the trip to Europe
they made when Melvyn was six weeks old.
It was the first evidence that he was going to
be a Trial. In persistent opposition to the rules
most babies follow he had wept copiously and
thrashed around in his basket all night, sleep-
ing in peace throughout the day while the
Hesselbergs, hollow-eyed, napped at noon and
nodded at dinner.
That trip, agreed the Hesselbergs, had been
hell. But they were optimists. Smiling hope-
fully, they planned to mold the boy and map
his future and his ideas for him, as he grew
older. "He will be a musician," Edouard would
say, nodding his head and tapping his knees
with his sensitive fingers.
"Or a lawyer," Lena would modify. She was
a practical woman and she had been married
for many years to a musician. "The law pays
well."
The Professor had learned the habit of com-
promise. "He will make his own choice — "
She nodded. But neither meant it. They
were people of a small world, of intense posses-
siveness. This son was a treasure to be nurtured
with passionate care, to be shaped like modeling
clay by ceaseless, watchful work; and the shell
they built around him through the early years
was of adamantine, made of too much love and
too much solicitude and the deep-rooted belief
of the Hesselbergs that a child must be a reflec-
tion of his parents, mindless, until manhood.
Then, they seemed to feel, the personality of ego
would spring into being suddenly, fully devel-
oped, at the stroke of noon on his twenty-
first birthday.
16
Melvyn's periodic attempts at rebellion were
spasmodic, frenzied, like a chained animal that
gathers strength over a period of time for a
frantic struggle for freedom. And those at-
tempts, in chronological order, are the story of
his youth.
LATER — years later — when, in retrospect, he
found time to assemble the reasons for what he
was, for what he had become, he could remem-
ber many things that directly or indirectly had
influenced him. The Macon house, furnished
for comfort but not stylized. The big piano.
Music his father made which frightened him,
but which the Professor continued to play as an
experiment because this new upstart composer
named Igor Stravinsky might one day amount
to something. His bed. which had fences around
it. A verse which began. "Now I lay me down
..." and had no meaning, but which he was
forced to learn and repeat as a requisite for
being tucked in. Moving to Nashville. Tennes-
see, then. A new house, a new bed: but the
same piano, the same music, the same verse.
School. Teachers in blouses and long straight
skirts and knots of hair piled high with things
Mama said were "rats." The never-to-be-for-
gotten cynicism about teachers and the sanity
of teachers, therefore. Church, and the stained
glass crucifixion from which he could never take
his eyes, although the violent scene made a knot
form in his stomach. . . .
The church had hard pews and a minister
whose face and voice you couldn't forget. You
asked mother about him and also about the
pictures in the church and she explained that
these things were God. They were frightening
and uncomfortable, so you slipped away from
His House one Sunday morning and betook
yourself on your six-year-old legs to the more
congenial corner drug store where, with your
nickel for the collection, you purchased and
drank soda.
And you were caught, and returned to the
Father's House, and later to your own house,
where you were spanked, which was bad. and
talked to with tears, which was worse, and put
to bed. which was escape. And. after that, you
gave God His due — respect and a nickeL But
you wondered.
There was being eight, finally, and going to
Germany for a year. School in Germany, and
confusion. Where before there had been a
striped flag, and "I pledge allegiance" — there
was now a being named Wilhelm. who was
either God or the president And none of the
kids knew English. You ate heavy, different
food and watched magnificent parades in which
men with spiked helmets marched stiffly, like
lifeless mechanical men. down the street. All of
them stepped too high with one leg only. And
you were just getting used to all this when
suddenly you were back in Nashville once more,
and Germany was a colored patch on a map.
and you were an American again.
There was being eleven, and a clearer con-
ception of things, so that moving to Toronto,
(Continued on page 74)
17
HOLLYWOOD
GIRLS
ON
THEIR
OWN
BY CORNELIUS VANDERBILT, JR.
The fascinating inside story
of those Hollywood working
girls — how they live and the
special problems they face
ILLUSTRATED BY CARL MUELLER
18
She would be, anywhere but in
Hollywood, the most popular girl
in town, but here her problem is
one in common with every bachelor
qjr| — star, extra, writer, manicurist
$*&*
FIFTY thousand girls are on their own in
Hollywood today — more than in any other
town in the world. What is the inside story
of these girls? How do they live? How do
they support themselves? What do they spend
for their homes, their dresses, their hats, their
shoes? How do they handle their "dates"? Do
they say good-by to the men at the door of their
apartments or invite them inside — and what are
the consequences? What special sex problems
do they encounter that are different from those
encountered by girls the world over?
With the many girls who come to Hollywood
with their families or are under the protecting
grace of husbands, this story is not concerned.
It is written about the girls who stand on their
own feet and support themselves through their
own efforts.
* * *
There are four types of girls on their own in
filmtown — the girls who act, including stars, fea-
tured players, bit players and extras; girls in
technical jobs, writers, script girls, designers,
publicists; the people on the fringe of the in-
dustry, professional escorts, hostesses, compan-
ions and guides: and the great mass of working
girls including waitresses, beauty parlor opera-
tors, cashiers, manicurists, maids and cooks.
And all of them have one urgent problem in
common — the scarcity of eligible Hollywood
men.
Hollywood men, all four groups say, are
spoiled. You often hear that Hollywood is a
woman's town, but paradoxically enough, just
because it is a woman's town — there are seven
women in Hollywood to every man — it's really
a man's town. The result is, Hollywood girls,
no matter what their status, are easy to date.
A man who in his own home town wouldn't get
a second glance may come to Hollywood and if
he's a moderate success and earns $100 a week
or more, he may eventually be taking out a
glamour girl who earns five times his salary.
Easterners, the Hollywood girls say, are the
most sought-after males. They send flowers;
they wouldn't dream of allowing a girl they take
out to share the expenses of the evening (a
West Coast practice frequently indulged in, by
the way) ; they phone the girls to whom they're
attracted to ask for dates instead of calmly say-
ing when they meet those girls, "Why haven't
you given me a ring?"; when they want to see
a girl, they buy tickets for the latest play or the
best picture in town; but they don't phone a
girl to ask her, "Say, have you received passes
to such and such a picture? If you have, why
don't you take me with you?"
Of course, each girl in each group has her own
very special man problem. Take the star, for
instance. Every time the star goes to an im-
portant premiere or even to the Brown Derby,
the columnists will pay special heed to her es-
cort and the next day the newspapers may re-
port that a romance is beginning between Gloria
Glamour and . The star knows this will
happen; the studio knows it; and all those in-
side the industry know it. The question is —
just how does this situation affect the social life
of a star? Well, generally, this is the way things
happen. Her studio comes to her and says,
"Look, Gloria, we're putting a grand new lead-
ing man into your next picture — swell guy,
you'll be crazy about him. Name of Jimmy
. He photographs perfectly, and is an
excellent actor. But you know how it is, the
guy isn't so well known in this country. In
France, yes, but this isn't France. Why don't
you go to the premiere with him next week?"
Maybe the star shrugs her shoulders and says,
"Why should I go? What do I get out of it?"
But usually she is persuaded to do it on the same
principle that a man does his best for "good old
Rugby" — it will help the studio, and, incident-
ally, help the box office take on her next picture,
particularly if the nice young leading man is in
it. Still, she's doing the studio a favor.
This "business" dating isn't always done so
brutally as that, though. Often all the publicity
department does is to arrange for the nice young
newcomer to meet Gloria, knowing that he's
just the type to sweep her off her feet, with the
result that Gloria and Gloria's picture and the
nice young newcomer all get reams of publicity.
So far as the star's sex problems are con-
cerned, she has one great advantage over most
of the other girls in Hollywood. Being impor-
tant, she can nearly always pick and choose her
escorts. And so long as she is friendly and not
too high-hat, she doesn't have to accept the at-
tentions of producers or directors, nor is it so
important for her as it is for the little extra or
bit player never to antagonize anyone in a po-
sition to help her.
The disadvantage the star faces is chiefly in
meeting men. Her best chance of making a suc-
cessful marriage is to marry someone so impor-
tant in the industry that there will never be the
slightest chance that her husband will be re-
ferred to as Mr. Grace Glamour. (The Norma
Shearer-Irving Thalberg marriage was this
type.) Another possibility is for her to marry
someone outside the profession who is doing
something of such great humanitarian scope
that, regardless of the income he makes, he will
always command her utmost respect. (The Dr.
Joel Pressman-Claudette Colbert marriage is
this type.)
Having disposed of the star's "man problems,"
let's look into her mode of living.
The star probably draws down SI, 000 a week
or more, owns her own home, which she may
have built herself, and buys her dresses at Mag-
nin's, Bullock's-Wilshire, or Saks Fifth Avenue.
If her home is in Bel-Air, she probably pays
from $10,000 to $30,000 per acre for the lot alone.
If she buys an estate in San Fernando Valley,
she can get one with about fifty-five acres for
anywhere from $60,000 up. Of course the star
may pay $1,000 down for a home in Westwood
and the balance of $13,750 just like rent. Most
stars own their own homes. Ginger Rogers has
one in Beverly Hills. Claudette Colbert and
Irene Dunne have beautiful homes in Holmby
Hills. Almost the only top-notch stars who still
rent their homes are Garbo and Janet Gaynor.
I HE life of the featured player is decidedly dif-
ferent. The featured player makes from $75 to
$750 a week, generally rents her home if she's
in the upper brackets, or if she's in the lower
brackets lives in a very up-to-date apartment
hotel with switchboard service, paying about
$100 for such an apartment. Occasionally she
splurges on a $100 or $200 dress which she may
buy at Bullock's-Wilshire or in a swanky New
York shop or have made to order, but as a gen-
eral rule she pays about S30 to $50 for a dress,
about $10 to $35 for a hat, about $15 for shoes.
In the upper brackets, the featured player is
likely to have two servants, usually a maid and
a cook; in the lower brackets, she has no per-
sonal maid, but gets daily or weekly maid serv-
ice at the apartment hotel at which she resides.
The maid who comes in cleans her apartment
thoroughly but doesn't wash the dishes and, of
19
• perform the little chores of a
trial maid m darning itockini
ired plaj own
making I' week,
it wil' probabl i Bve-
- 1 Ton Very
■i the finance plan, one-third
down, and the real in monthly installment
s making betwt rid $100 a week, she
will buy an Inexpensive secondhand tar of a
popular make mi the installment plan.
neral rule, the amount of money the
featured player spends on her clothes is out of
all proportion to her income If she mak<
a week *he may spend $L'((0 on
cloth.
Of course, some featured players
refuse to follow this general pattern,
and let their bosses know that they'll
•ust as they please. When Jean
Muir first came to pictures, she is
said to have made $75 a week. She
■ d in the simple, inexpensive
tie would have worn in N
York and actually saved some of the
money she made.
When Fiances Farmer insisted on
wearing what she pleased, walking
around the studio in faded old slacks,
\ecutivos. highly displeased, re-
layed a message to her through her
dramatic coach. Phyllis Loughton.
What did she mean, they wanted to
know, going around the lot looking
like someone's poor relation? Didn't
she know that the fans expected
their favorites to look glamorous?
What would Miss Farmer's public
think of her if they caught a glimpse
of her some day in those disgraceful,
worn-out slacks?
Not at all daunted. Miss Farmer
Miss Loughton to go up to the
head office and deliver a message
from her to them. "Tell them." she
said (and this is probably the most perfect
squelch ever delivered by a featured player)
"that if they would pay as much attention to
the parts they give their actresses as they do to
the clothes We wear, we would both make a lot
more money."
THE featured player's problem where men are
concerned is highly different from that of the
Hollywood star. She is much more apt to marry
a producer, a director or someone else who
might he able to help her become a star.
When tin star is expected to go out with some
pleasant but not very well-known young lead-
ing man because it will "build" him up, the fea-
tured player or the star who has slipped a great
deal has a lot to gain if an important and roman-
tic young man takes her out. While no one doubts
Incerity of Barbara Stanwyck's love for
Robert Taylor or Carole Lombard's devotion to
Clark Gable, from a cynical Hollywood view-
point those two girls were both lucky because
Mentions of the two most romantic young
men in Hollywood placed the spotlight of fame
firmly on them and made them much more pop-
ular with the fans than they'd ever been before.
lucky is the featured player who can
dangle an important young star before the eyes
of the dazzled world.
Failing t<> accomplish that feat, tin- featured
player is apt to look about for a director or some
romantic young man who is dashing enough so
that a rumored romance with him lends luster
to her nal
If there's mm dashing young man in the pic-
ture, a studio publicist sometimes makes one
up. Quite embarrassed was Olivia de Ilavilland
when : in 'he newspapers that she had
gone abroad to marry an English lord. On her
rn from Europe she explained that she had
20
never mot the English lord, that she had gone
abroad to rest because she had worked so hard
that she was on the verge of a nervous break-
down, and that, when she had looked up the
Englishman's name in Burke's Peerage, she had
discovered that he was already married.
tory that Olivia was going abroad to rest
WOllld havi tj two lines in a newspaper.
The exciting story about the English lord got
about two columns in every newspaper in the
country.
Because she stands so close to stardom and
ly sink into oblivion, the featured
player must be much more careful than thl
never to antagonize the men upon whom her
V*
future depends. There was the case of the beau-
tiful dark-haired young woman who was pro-
gressing very nicely in pictures. When a fa-
mous star had become too ill to complete the
picture she had started, the dark-haired young
woman was rushed into her role. For a time it
looked as if Mary — which, of course, is not her
ame — -had every chance of attaining star-
dom. Then, suddenly, she was dropped by the
very same studio which had been building her
up. No one knew just why, although there were
rumors that she had antagonized one of the big
shots.
Word went round Hollywood that the Big
Shot was furious at Mary — and that if any other
producer hired her, he would find a way to get
even with him. Since producers often have to
borrow stars from each other or ask other fa-
vors, none of the big shots at the other studios
would take the risk of antagonizing.
Yet Mary might have saved herself a terrific
headache if she'd known more about the tech-
nique of saying "no." Mary's mistake was not
in saying "no" — she could have gotten away
with that if she'd said it tactfully — but in
wounding the Big Shot's ego.
MOST Hollywood girls, no matter what group
they belong to, have a marvelous technique for
letting a man down easily. She would just love
to go to his apartment, but it's too bad, she has
an engagement for this evening. The next
night? Why, she's promised to be home at a
certain time and her mother would be terribly
hurt if she stayed away from home. That's the
night she always spends with the family. The
result is that the man never knows whether the
girl will end by saying yes or no.
Sometimes, when the man takes her to the
door of her apartment and is eager to come in,
the wise Hollywood girl who has known him
only a short time invents an imaginary room-
mate.
"Oh, I'd love to invite you in," she says, "but
Glenda (that's my roommate) has gone to bed
already and I promised not to disturb
her."
Thus the featured player often pre-
vents situations from arising which
might cause her considerable embar-
rassment.
Although being "nice" to the right
people is supposed to help the featured
player attain success, often it has ex-
actly the opposite result. One beautiful young
blonde stage player was brought to Hollywood,
where she was expected to become one of the
biggest stars in pictures. She was glamour in-
carnate. Before long the leading man in her
picture w'as desperately in love with her. Al-
though he was married and she knew it, that
made no difference to her.
She didn't even have the excuse of being
in love with the leading man. Before long, she
discarded him and he went back to his wife — a
strangely listless and unhappy young man.
The blonde went on to bigger and better con-
quests. According to Hollywood theory, she
should have reached the top, for she had every-
thing and she found "yes" the easiest word in
the language to say. Yet in the end, Hollywood
discarded her. Instead of being grateful to her
for being "nice" to them, the producers and di-
rectors grew weary of her too easy compliance.
And so your important featured player often
finds herself between the horns of a dilemma.
Theoretically. Hollywood believes that a woman's
honor is her own affair, so long as she doesn't
hurt a third person and isn't too promiscuous.
If she has decided to say "no" and stick to it,
(Continued on page 80)
Most Hollywood girls have a mar-
velous technique for letting a man
down easily when he wants to come
to their apartments after a date
'
DRAWINGS BY
N C E N T
•**
walls or tending the yucca that grew along the
wall under the scrub oaks like giant candles.
He lived over the garage. It was a clean, com-
fortable room, rather bare. "It was quieter
like." he said. "My daughter wanted I should
have a room in the house. But I liked it out
here. I get up pretty early. I could be more to
myself. It was quieter like."
So it was that he had heard nothing, seen
nothing, upon that fatal night. Under exam-
ination by a grim young detective, he said that
he would have heard a car if it had come round
to the garage. But most of the cars stopped
the other side of the house, in the little circular
drive. Maybe, then, if he was asleep or reading
his paper, he wouldn't have heard it at all. At
about nine he had heard his daughter come in
and call good night — cheerfully —to someone
and go on into the house. No. he hadn't seen
her. When she was working she was often tired
and went straight to bed. Later, he had sort of
remembered hearing a car or two go by on the
winding highway up the canyon. There were
two other houses higher up — half a mile away.
He was sure they didn't stop.
As it turned out, a studio car had brought
her home from location at 9: 10 and the chauf-
feur had checked into the studio right on time.
The murderer had struck, as close as the doc-
tors could figure, sometime after midnight, cer-
The woman swayed ... he put an arm
around her . . . "You should — tele-
phone— the police — " she said, her
throat convulsed, the words broker
tainly not before. The solution didn't seem
far to seek. For all her jewels were missing
from the painted wall safe. And a window on
the ground floor had been forced.
I HE old man's story was convincing. Cer-
tainly he had everything to lose by his daugh-
ter's death — his beloved garden and the com-
fortable room over the garage. The servants—
a man and his wife — didn't sleep on the place
They went home when their work was finished
They were a Mexican couple and lived down
near the Plaza. Oh, she's always had an eye for
effect, for a perfect background for her dark
beauty. When she entertained, she gave small,
elegant dinners with unusual Spanish food and
excellent wine. The Mexican couple had a bul-
let-proof alibi. They had been at a dance down
in Sonora Town, seen by a hundred people
Obviously, they knew very little about their
mistress' business. The further the detcv
went into the matter, the more they discovered
that nobody knew very much about her busi-
ness. Her ways had been secret and careful in
private.
The Mexican couple had returned that morn-
ing in time to waken her because she had a
studio call at eight. They hadn't, this time, been
(Continued on page 85)
25
BY RUTH WATERBURY
THERE'S never been a good story written
about her. There probably never will be,
either.
For it's right in the same class with trying to
describe the taste of coffee or the scent of night-
blooming jasmine.
Still, Myrna Loy has something that Hedy
Lamarr with all her mystery, Joan Crawford
with all her ambition, Claudette Colbert with all
her intelligence, Carole Lombard with all her
humor haven't got.
Myrna Loy has serenity. She knows how to
be happy though famous. Among Hollywood
women that makes her absolutely unique.
It doesn't worry her that she isn't the most
beautiful girl in town. She is relaxed even be-
fore the fact that she isn't actually beautiful at
all. She lets the freckles pile up on the end of
her nose, although her nose is what makes her
face so provocative. To dodge freckles she'd
have to stay in out of the sun, and she wouldn't
do that for anything.
She knows that there are plenty of girls, even
in the extra ranks, with better figures than hers.
Dieting would improve hers, but then she would
have to go without food, which she adores.
She realizes she could get lots more stories
about herself in the papers if she talked more.
But if she talked more, she would have to think
out loud, and, if she did that, it would be a lot
of bother, and what fun is that?
Other stars pine to go into opera, or conquer
the New York stage. Myrna doesn't. She loves
movies and everything about them. Maybe she
could work herself up into feeling snobbish
toward them, but why?
26
N SERENITY
She has a very strong conviction that modern
women are more interesting than women have
ever been in the world's history. She honestly
believes they are more courageous, more sensi-
tive and more loving than ever before. For that
reason she prefers to portray them rather than
hark back to any stuffy classics like "Hedda
Gabler" or "The Doll's House" or such, even
though the latter might get her a reputation for
being artistic. She would rather be real than
artistic any day.
flSK her about her future and she smiles at you
from the depths of her sleepy eyes and says
that oh, dear, she really can't worry about an-
nuities and such.
It is completely typical of her that she re-
cently refused to play Nora in a new Thin Man
production if Bill Powell was not to play her
husband. She said she wouldn't feel right with
a new film husband. She wouldn't, either. She's
sensitive about things like that. (P. S. Bill
Powell will play her husband!)
She is terrifically loyal to her friends and it
is of the utmost unimportance to her whether
or not they are big or little shots. The man she
married, Arthur Hornblow, Jr., is a very big
shot indeed, and a fine producer. But her clos-
est woman friend is a hairdresser.
She didn't even get herself into a stew over
her own wedding. She just w^ent down to En-
senada over the Mexican border to be married
by a Mexican justice who couldn't speak more
than a dozen words of English, none of which
Myrna could understand. She is pretty sure
the marriage was legal, though Hornblow
climbed a wall and picked a bridal bouquet for
her out of a neighboring garden. The Mexicans
didn't mind and Myrna loved it.
She was born on a ranch outside of Helena,
Montana, which is such a small place that it is
hard not to be outside of it no matter what you
do, and she was her father's pet. Her closest
pal was her younger brother. He still is. She
learned about men from those companionships.
A fantastic number of beautiful, successful
girls in Hollywood sit home alone night after
night. Before she was married, Myrna sat home,
too, but never alone. There were always plenty
of beaux. She has what it takes.
She still sits home now that she is married.
She loves being home. She hates night clubs.
Her husband does, too.
When she was fighting with Metro a couple
of years ago over her new contract, Bill Powell
and her husband were much more steamed up
over it than Myrna was. Bill went around mut-
tering, "Why, the idea of their acting like that
toward little Myrna," "their" meaning the stu-
dio. Her agent, undoubtedly egged on by the
brilliant Mr. Hornblow, did all the quarreling.
Myrna just sat quiet and waited for the studio
to capitulate. She knew all along that it would.
An absolute burst of conversation from her is
three consecutive sentences. On the other hand,
she is a divine listener. This characteristic
doesn't hurt her any with men, either. It never
has any girl.
I OU can't honestly say that her life has all been
a bed of roses, but you'd be fairly accurate in
pointing out that it has been pretty consistently
flowery — say a bed of morning glories. She
never knew starvation or a bad kicking around.
She came from nice people and therefore didn't
have to begin learning her manners after she
signed her first contract. Her severest loss was
losing her father. That hurt.
She had a long, tough bout with success,
though. It is hard to realize that she has been
in pictures ever since 1925, but she has. Mrs.
Rudolph Valentino was her first discoverer, but
Warner Brothers were the first to put her under
contract. The two auspices couldn't possibly
have been more dissimilar, but they saw her
alike — as something very strange and exotic.
Their instinct was right, at that. She wasn't, of
course, the Oriental enchantress they made her
appear, but she was — and she is — as subtle as
the music of Debussy or the fines of a Greek
temple.
She went through an agonizing amount of in-
ept roles at Warners for several years and was
finally let out by the Brothers. She was signed
by Fox and the same thing happened there.
Her last free-lance picture before signing her
In a few terse words Myrna (with her husband Arthur Hornblow, Jr.) sums
up the trouble with modern marriage and thus reveals the secret of her success
present contract with Metro-Goldwyn-Mayer
was made at RKO and in it she played her
wickedest role of all. It makes her writhe to
remember it. She had to be one of Those Girls.
She says her favorite studio of the many that
she has worked in is Sam Goldwyn's. It was
so adult, she claims. Arthur Hornblow was at
Goldwyn's at the same time that Myrna was.
That was where she first became acquainted
with him. That probably had something to do
with her fond memories of the place.
She is always eager to give credit where credit
is due. She will get absolutely loquacious, for
her, on the subjects of Henry Waxman and E.
H. Griffith, the director. Waxman was the
photographer who first helped her by revealing
how photogenic her face actually is. Griffith
was the original director to discover that she
could play an American woman with warmth
and almost startling accuracy.
tVEN as with her success, she had to wait for
her real love. Arthur Hornblow was married
when she first met him. He had long been sep-
arated from his first wife, but it took him several
more years to secure his freedom. If, during
that waiting time, Myrna ever got discouraged
or frightened, she revealed no trace of it to the
outside world. Such a situation has broken
many a woman, but it did not break Myrna.
Perhaps it was then that she studied as to what
made an ideal marriage, studied it so thoroughly
that she can now portray it tenderly both on the
screen and in her private life. That is a sheer
guess, though. It takes no guesswork to tell
that the Hornblow marriage is an ideal one,
however. That fact shines forth from the Loy
eyes and glows forth from her healthy body.
Her house is like her, lovely, comfortable and
unpretentious. It is out quite a ways from
Beverly Hills in a wild, unfrequented section
called, with no appropriateness to Myrna, Cold
Water Canyon. You have probably heard the
story that the site of it is a site where she used
to go with her brother when they were both
unknown and he was searching for spots to
sketch. She loved it then and she still loves it,
and that, too, is characteristic, both of her fidel-
ity and the sentimental side of her of which she
isn't at all ashamed.
She waxes highly loquacious (two whole sen-
tences) about the patio which faces the hills be-
hind her home. She gets a big kick out of eat-
ing there.
She and Arthur Hornblow revisit the Mexican
town where they were married each time their
wedding date rolls around. They also motor
away on trips together whenever they can get
free from their individual studios, tripping
around like any average husband and wife to
places like the Grand Canyon, Yellowstone
Park, Death Valley and such. Myrna wants to
travel in Europe, too.
Principally, though, she says she wants to five
every minute of every day as fully as it can be
lived. By that, she means to imply nothing that
is jitterbug-ish. She means something much
richer and deeper. But. like all her remarks,
she does not amplify what she really means and
you must draw your own conclusions.
For instance. I think her personal serenity and
her professional and private success are all
summed up in what she thinks is the trouble
with modern marriage.
"The trouble with most women is that they
aren't lusty enough for men," she says.
That isn't her trouble. She is.
On that fact hang all the Loy and the profits.
27
LIKE FE
Jimmy Cagney (above with Pat O'Brien in "Angels With Dirty Faces") confuses even
his best friends by the marked contradiction of his screen and real personality
Revealing the sentimental side of a "tough guy"
whose biggest theft is out of the cookie jar
BY SARA HAMILTON
IT'S pretty generally understood among his
closest friends (though kept as quiet as pos-
sible) that Jim Cagney is not quite — well,
shall we say normal — on the subject of cookies.
In everything else Jimmy seems to be all right.
His knee action is good; he dislikes screwy hats
on his wife; he can carry a tunc in a little brown
and yellow basket. But, to be honest about the
whole thing, Jim Cagney is not the same Cag-
ney when ;i plate of cookies comes within smell-
ing distance.
Bill Cagney, the brother with the business
brains, insists that a peculiar wild gleam comes
Into Jim's eye whenever cookies go the rounds.
As Ear as I can gather, It's a certain rolling of
eball that reminds one of War Horse Bay
Billie about to stampede
And it's the cocoanut kind that causes the real
trouble.
A EamoUfl psychiatrist once tried to gel to the
bottom of what the family is pleased to call
Jinn ie compl"
i dream about squashing grape-
fruit?" the psychiatrist asked. Well — you know
what happened after that. . . .
To me, the most amazing fact in a boatload of
contradictory facts about Cagney is that he has
never once been recognized or claimed by his
ilk. Nobody, except his family, of course, ever
places Jimmy in the category to which he
belongs. The mugs, who have no chance of meet-
ing Cagney off-screen, are more or less con-
vinced that Jimmy is one of them — a rough-
spoken, tough-acting little thug. And so what
if he is a blond. Accidents happen, don't they?
The intelligentsia assume that, because Jim's
a low-spoken, well-read actor who plays hard-
berled babies but isn't one, by contrast he must
possess a really brilliant and unusual mind.
And again the pendulum swings too far in the
wrong direction. He is neither the best read ac-
tor in town, nor the best informed, nor the pos-
sessor of the keenest mind (though the latter is
a fine one, believe me on that).
"What do you think about this question, Mr.
Cagney?" a noted author or thinker will say in
conversation, sitting slightly on the edge of his
chair, star dust up his nose an inch thick.
And Jimmy will say what he thinks, logically,
in good English, and in tones so modulated that
one must almost lean forward to catch the words
and everyone will be deluded into thinking
something pretty dawgone unusual has just been
uttered. It hasn't at all. It was merely one
man's opinion keenly stated, and well thought
out.
The business man, noting Jimmy's adjust-
ments to contract troubles, will sigh, "Now
there's a man who has a soul for business.
There's a whiz."
As a matter of fact, I imagine Jimmy is as to-
tally unprepared to cope with business proposi-
tions outside the studio as the amazed sewing
machine agent was in his dealings with Aunt
Tillie. And what went on there was plenty.
No, Jimmy just doesn't add up to preconceived
ideas about himself. In fact, the very words
"adding up" have little place in the life of Cag-
ney. for, like most July-born people — whim-
sically strong, sensitive and sentimental, roman-
tically unstable — facts and figures and adding
up and taking away have little or no place in
their lives.
"Hey, don't walk across there," he'll call to a
friend, who has attempted a short cut across the
grass.
"You mean you're actually going to walk all
(Continued on page 87)
28
ON THIS AND THE FOLLOWING
PAGES PHOTOPLAY BRINGS YOU
HOLLYWOOD AT ITS PICTORIAL BEST
Mr. Hesse as a private citizen has
his pet models — locomotives! But
he obviously enjoys photographing
the stars; he admires them not be-
cause of their glamour, but be-
cause he likes them "as genuine
people capable of sincere hard
work." Here he works on special
Photoplay assignments with (left to
right) Bette Davis, Ginger Rogers,
Claudette Colbert, Alice Faye, Nor-
ma Shearer and Dorothy Lamour
nuwn specialist in
Hesse will hence-
Man Behind the
for of the full-length
our fashion section
ig trip to the West Coast
jgraphed at work — which
you see on these pages.
s, Mr. Hesse is a compe-
artist with, surprisingly
i of humor and a devastat-
P"ing" his models so that they
ease. There is a vibrant,
il quality to Hesse's work.
Watching him take pictures, one is fascinated
by his ability to bring out the inner stimulating
personality of the subject in a very short time.
He explains it as a bond of complete harmony
which must exist between the artist and the
sitter, otherwise the picture is merely a me-
chanical registration of physical effort.
Born in Brooklyn forty-two years ago, Mr.
Hesse yearned successively to be an actor and
a surgeon. His great idea came in 1925 when
he foresaw the future in color photography. In
1928 he was the first to record in color the like-
nesses of motion-picture stars; today his work
decorates America's best magazines.
V *
Alice Joyce
Virginia Pearson
Gloria Swanson
JUST FOR
FUN!
Left, Marguerite Clark; above, Janet Gaynor
m
^V5^
Billie Burke
Olive Tell
lv^J
■
Norma Talmadge
Norma Shearer
y Miles Minter
Ethel Teare
Jobyna Ralston
e Moorehead
Violet Heming
4
P
" «*^ * '
V
£V
Shirley Mason
/n f/iose days 'twas the sporting
thing to do for a maid to lose a
tennis set, but never, never her
girlish modesty. Then in came shorts,
out came milady, and into the trunk
went these "fashion firsts" — but
not so far that Photoplay cou/c/n'f
resurrect them for this gay revival
7$W
1
v*
<*»-
Hope Hampton
Doris Kenyon
Leila Hyams; Myrna Loy
It's all a matter of facial form, so far as these
athletic aspirants are concerned. Allan Jones
(left, top), M-G-M chanter, lifts his eyebrow,
grits his teeth — and the bowling alley hums.
Jimmy Stewart (top, center), "Made for Each
Other" hero, favors the wrinkled brow method,
while Warner Baxter (right) of "Wife, Hus-
band and Friend" dead-pans by comparison.
Anita Louise (left) takes the Helen Wills poker-
face way, performs as efficiently on the tennis
court as on the set of "Little Princess." Johnny
"Scat" Davis (right) of "Brother Rat" goes in
for bangs and trie tongue-in-the-cheek technique,
while non-conformist Cagney, in trim from the
new "Oklahoma Kid," plays his own little game
N
Candid calisthenics continue
with Robert Taylor of "Stand
Up and Fight" taking a stance
on the baseball diamond . . .
. . . and Rosalind Russell in the
rough. The star of "The Cita-
del" is a leading member of
Hollywood's links fraternity
Bowler number two is Gene
Raymond who believes in con-
centration for the cause
Nelson Eddy's new film love in
"Song of the West" — Virginia
Bruce, on the tennis court
^cdbdL-GA LmXcL^Ca^s^^
— and Photoplay did. Result: some
very odd angles on the starsf who
mostly had their eyes on the ball and
not on the cameraman's "o'xrdie"
V
0
BS
feA
/yUt
nforming to the industry's own rules
what's right and what's polite, Para-
unt decided the Big Apple of Paris
the early I900's was definitely not
it — or polite — for stars Claudette
Ibert ahd Herbert Marshall. This is
dance that now takes its place
100 FACES
Master dramatist at sixteen is Wil|
liam Halop, first tragedian, at $651
a week, of Warners' "Dead En<
Kids." To his native Brooklyn, h<
was Billy, son of Attorney Halop
a normal, intelligent American boy
to Broadway, influenced by his rec
ord at the Professional Children'
School, he was first choice for i
spirited, hard-boiled juvenile; +
Hollywood, he is the versatile artis
of "They Made Me a Criminal"—
the boy with the million-dollar facj
PHOTOGRAPHS BY "MUKY|
m ***
J
i
I
-%
s.
*
GOSSIP
H
■
-? ^
HOLLYWOOD
GRAPHS
AN FINK
Luise Rainer, caught with her
purse down (above, right), soon
recovers her poise. Perhaps
her reconciliation with Clif-
ford Odets has made her coy
Our determined terror of the type-
writer is on the loose again and
already the stars' ears are burning
Modern Miracle of Love
I HERE is a strange and lovely story about
young Gloria Dickson (who is slowly but surely
going places at Warner Brothers, currently in
"They Made Me a Criminal") and Perc West-
more. It is a sort of modern version of the old
tale of Pygmalion and Galatea . . . remember
the myth about the sculptor, Pygmalion, who
fell in love with the marble Galatea, statue of
his own creation? And whose love was so fine
and true that Aphrodite gave the statue life?
Well, as you know, Perc is head make-up
man at Warners and it was to him that Gloria
was sent pending her first test for a screen role.
Perc did his best to give her photographic
charm, but Gloria failed in the test. Yes, she
had a contract, but now they said she did not
photograph as well as had been expected . . .
which meant, of course, that her career was
finished before it was, in truth, begun.
Heartbroken, she returned to Perc "Can't
you help me?" she begged.
And Perc did. He kept her with him for long
hours, studying her face, its contours, its pos-
sibilities. He drew sketches of her and poured
over them at every free moment, seeking means
of improvement. He tried out a new type of lip
rouge and different curves of mouth anci
brow. He even invented a new kind of powder
for her which provided more light and shadow
and therefore made her face more interesting.
45
comes visiting from Eng
give pretty Arleen Whelan the
once-over, while Mrs. Lupino
(right, center) has already put her
stamp of approval on daughter
Ida's marriage to Louis Hayward
Painstakingly, patiently and, as time passed,
tenderly, he created from this girl, lovely to
look at but providing difficult photographic
problems, a new and different screen personal-
ity. He, this modern Pygmalion, created a
Galatea who, in her next test for a role, came
through triumphantly!
And while the attractive young make-up art-
ist was accomplishing this miracle, another
happened . . . the miracle of love. This mod-
ern Pygmalion fell in love with the Galatea of
his own creation, and she with him.
So, in due time, they were married and now
they are living happily ever after!
Cradle Wit
ALTHOUGH not a member of that parental
group given to perpetual discussion of their
children, Irene Dunne can't resist telling this
one about her small adopted daughter, Mary
Frances, aged three.
While in New York recently, Irene and her
husband, Dr. Griffin, Mary Frances and her
nurse lived in a suite and always ordered meals,
including Mary Frances' repasts, over the tele-
phone. Came then a certain midday when
Irene was busy with interviews and luncheon
was delayed.
At first. Mary Frances, quietly playing with
hi-r dolls, appeared not to notice. But at last
she moved determinedly to the phone and lifted
the i
"Room service," she said distinctly. And then,
when the connection had been made:
"This is suite 1002. I want to order the baby's
lunch."
She got it, too!
Very Light Housekeeping
OLIVIA de HAVILLAND and her sister, Joan
Fontaine, have been having quite a time for
themselves, redecorating and refurnishing their
Farewell celebration — just before he took off for a vacation in
South America, Tyrone Power stepped out with Mrs. Jock Whitney
(her husband's in trie East), properly chaperoned by the Hank Fondas
home in Hollywood Hills. They were about fin-
ished and expected to be particularly proud of
the living room, when they discovered to their
horror that their newly acquired piece de re-
sistance for this room, one of those famous and,
I might add, expensive Jesso paintings, "fought"
like the proverbial cats and dogs with the new
furniture upholstering. So now they are hav-
ing the furniture done over in hand-blocked
linen especially designed to match the "Jesso."
Still speaking of household renovations and
such . . . Bette Davis, who recently inherited
Kay Francis' palatial "dressing room" on the
Warner Brothers lot (which, incidentally, boasts
of five rooms and two baths!), is having the fire-
place done over.
Seems that Kay, for some reason, ordered the
real fireplace bricked up and a gas log installed.
On the other hand, Bette, possessing a particu-
lar affection for open fires, is having the old fire-
place restored.
The other day, George Brent and some others
in the cast of "Dark Victory" got together and
sent her a present accompanied by a note.
"No hearth is complete without its white fur
rug in front. Here is yours," the note said.
The "rug" proved to be a mangy goat skin,
picked up in a shop in Los Angeles' Mexican
quarter.
Love Will Find a Way
THEY don't talk much about it on the 20th
Century-Fox lot, but everyone knows what is
happening to Arleen Whelan, the little Titian-
haired manicurist who a year ago was Holly-
wood's newest Cinderella.
Yes, she was busy with her buffer and scissors
and polish, never seeking or expecting fame and
fortune, when she was "discovered" by a 20th
Century director and thrust into the limelight —
photographed, publicized, rushed into the lead-
ing feminine role with Warner Baxter in "Kid-
napped." With that picture not yet released,
she was groomed for the lead with Tyrone
Power in "Jesse James." She was going places,
everyone thought. Probably she thought so,
too.
And then "Kidnapped" laid an egg, which
means that it didn't do so well at the box of-
fice. And Arleen's role in "Jesse James" was
given to young Nancy Kelly.
"Of course, she'll get another part soon," ev-
eryone said. She did — one in Shirley Temple's
new picture, "The Little Princess." But that,
too, was quickly taken away. Her hair was too
dazzling beside Shirley's yellow locks, was the
excuse. But Arleen, as well as everybody else,
knew she was, as we say it here in Hollywood,
crassly and cruelly, "on the skids"; that noth-
ing short of a miracle could save her.
Still, there are such things as silver linings to
many a dark cloud. There is, in Arleen's case
. . . Richard Greene.
When Dick Greene came over here from the
British stage, the publicity department thought
it would be lovely if he should fall in love with
Sonja Henie, whose leading man he was to be
in "My Lucky Star." But he took one look at
Arleen and that was that. He is crazy about
her. (Continued on page 68)
46
A HEART-TO-HEART TALK
W
E REGRET that it is necessary for us to have this heart-to-heart talk with our
readers and our friends in Hollywood.
For more than twenty-five years Photoplay has stood as a friend and champion of
the motion-picture industry and has demonstrated consistently, we believe, its eagerness
to play fair with our readers, the stars and the industry as a whole.
Unintentionally, we have been made to appear to step out of this character upon
which we so pride ourselves.
Last month, we published in Photoplay a story in which we described friendships
existing between prominent men and women in Hollywood, friendships which are well
known to our readers and the public through articles that have appeared here and else-
where for some time.
The purpose of our story was to show that these relationships in their companion-
able and mutually helpful aspects were so worth while that it was our hope that they
could eventually culminate in happy marriages.
We regret that the purpose of this story was misinterpreted in certain newspapers.
Excerpts were republished without permission and removed from the context, making
these friendships appear in a light far from our original intention.
Such an interpretation is unfair, not only to this magazine but to the stars involved.
We must stand on our reputation of solid and constructive publishing history when we
assure the stars mentioned in the story, as well as their studios, that we genuinely re-
gret these unfortunate interpretations of our meaning and motive. This article was in-
tended merely to portray some of the finest friendships we have ever known.
47
• PYGMALION — Pascal-M-G-M
Gk. >KGE BERNARD SHAW'S first full-length pic-
ture is worth waiting for. Humorous and philo-
sophical, it is a modern interpretation of the mytho-
logical tale of "Pygmalion and Galatea" and has to
do with a crotchety professor of phonetics who
adopts an ignorant cockney flower girl, builds her
into a social success with royalty, finally falls in
love with his own creation. Mr. Shaw, aside from
the original play, obviously had his finger in the
screen version too; the directorial credit belongs to
Anthony Asquith assisted by Leslie Howard.
Wendy Hiller has a wistful charm and is an amaz-
ingly adept actress; Wilfred Lawson, as her dustman
father, is a joy; Leslie Howard is his charming facile
• nd the production extremely clever.
THE DUKE OF WEST POINT—
Small-United Artists
HERE'S "A Yank at Oxford" turned backwards.
It's Louis Hayward, a Britisher who was a sensa-
tional athlete at Cambridge, who brings his accent
and his physique to West Point. Gosh, do the cadets
hate him! But he's nice to Tom Brown, and that
young man develops a case of hero worship. There
is the usual to-do about football, a widowed mother,
and Breaking Limits. As a result of his actions
Louis is "Silenced" by the other cadets, which is
like being put in Coventry; wherefore you will
spend much of the picture feeling embarrassed for
everybody. This new Richard Carlson does some
good work as Hay ward's roommate; Joan Fontaine
is the girl Louis wins when, at the last moment, he
is put into the Big Game.
THE NATIONAL GUIDE
IN 0 T
PICTURES
• THE DAWN PATROL— Warners
• TRADE WINDS— Wanger-United Artists
• BLACK WELL'S ISLAND— Warners
I HE Brothers Warner have been very successful
making unusual pictures, and while it is true "Dawn
Patrol" has been made before (in 1930), still it is
also true that to a whole new generation of movie-
goers, surfeited with love triangles, this stirring
aviation war drama of men without women will
prove a completely satisfying and thoughtful ex-
perience. Stressing the "War is Hell" angle, it
builds up an amazing and gallant picture of heroism,
horror and deep friendship among the men in the
Flying Corps in France in 1915. The combat
in the air are continuously thrilling, stun-
ningly photographed and the whole is carried to a
logical if tragic conclusion.
You will weep watching a flight commander, Basil
Rathbone. spiritually disintegrate under the task of
sending men to their death in "old crates patched
up with spit and a few wires" against the might of
expert German squadrons. Errol Flynn, his captain,
accuses Rathbone of being an executioner, until he
himself is made commander and in turn has to send
the young brother of his best friend (David Niven)
to certain death Later when Niven volunteers for a
lone mission Errol goes in his place.
It is not a pretty tale, but the solid direction of
Edmund Goulding prevented any maudlin senti-
mentality. David Niven emerges as a potential itai
of great magnitude: Flynn himself i-- capable, with-
out any fireworks: Basil Rathbone, though inclined
to keep that menace glint, is satisfying; Donald Crisp
and Carl Esmond are outstanding.
IT'S in this picture that Joan Bennett dyes her hair
black and looks so much like Hedy Lamarr you
almost expect to see Charles Boyer pop out of her
wardrobe trunk. Fraught with suspense and action,
as well as romance, the story flits up and down the
scale of human experience and half around the
world before its climax. In the beginning, Joan
shoots Sidney Blackmer because she believes he has
caused her sister's suicide. Then, with a grand
splash, La Bennett drives her car off a ferry boat
and Ralph Bellamy, after seeing her do this, con-
siders the case closed. You can hardly blame him.
Yet, like that penny you've heard about, the gal ap-
pears in Honolulu, does her transformation from
blonde to brunette, and sails off to India. In pursuit
are Fredric March, persistent detective Bellamy,
and Ann Sothern, a secretary. Freddie falls for
Joan and exchanges clews for kisses and flirtations;
Ralph gets out his nighteyes for Ann. All's well
until Robert Elliott, a rival sleuth, appears upon the
scene. Then the entire company scampers back to
San Francisco, just in time for the denouement.
Many will think this is March's best role since "A
Star Is Born." Certainly he handles it well. Bel-
lamy does a repeat on his "Awful Truth" character,
which you may be awful tired of, and Ann Sothern
has beautiful chances to display her knack for com-
edy. Blackmer, Elliott and Thomas Mitchell do
what they can in limited space; anyway, "Trade
Winds" here blow up a highly entertaining Who-
the-heck-done-it.
TOU will remember the excellent work newcomer
John Garfield did in "Four Daughters." Now you
will see him again, this time as the hard-hitting
reporter who brings to justice a New York rack-
eteer. Much of the punch in this picture must de-
pend on Garfield's fine technique since the story
itself, although very well done, is essentially just
another Warners' prison expose. No belittlement of
the film itself is intended; every shock device is
there, presented ruthlessly to stand you in your
seats. People are beaten and killed, there's a bomb-
ing, and lots of prison conditions for you to be sick
over.
Stanley Fields does a beautiful job as Bull, the
gorilla-like racketeer who runs a Fisherman's Pro-
tective Association, likes practical jokes, and douses
his expensively-clothed ape's body with perfume.
He is supported by the city administration. Through
the testimony of a beleaguered captain, however, he
is sent to Blackwell's Island and there (you may see
the humor in the whole situation) he takes over the
prison, fixes the hospital into a lounge and starts a
prison racket. Stupidly enough he takes a night off
to kill Dick Purcell, a policeman; Garfield gets him-
self a term at Blackwell, snoops around, and event-
ually brings Nemesis to Bull and the other bandits.
All of this is done with pace and almost constant
action, with shock sequences closely woven into the
general pattern. Victor Jory plays the new and
honest police commissioner, Rosemary Lane the
policeman's sister who loves Garfield.
48
RIDE A CROOKED MILE— Paramount
AkIM TAMEROFF used to be a Cossack. So he
brings his Cossack traditions of hard living to
America. Finally he meets his son, who also is a
Cossack. Federal G-men pinch Papa Cossack be-
cause he has hijacked cattle stolen from the gov-
ernment corral, and son Cossack joins the army.
This one then gets transferred to Leavenworth so
he can help Papa crack out of the pen. but changes
his mind at the last minute (because he has grown
to love the army) and leads a posse to catch Papa
Cossack again. Do you see any sense in it all?
Neither do we. Leif Erikson plays the son: Frances
Farmer is his Woman who clings through Thick and
Thin: and Tamiroff certainly acts like a Cossack.
Out of all this you may find a few laughs.
HEART OF THE NORTH— Warners
nARNERS have taken the greatest melodrama of
them all. complete with chase, and made it in Tech-
nicolor. The result is surprising but awfully ex-
citing. Boy, do those Mounties get their man! It
all begins when a bunch of bandits hold up a river
boat, stealing the trappers' gold and killing Pat
Knowles, one of the Mounties. Red-coated Dick
Foran then starts in pursuit and the rest of the
picture is concerned with his efforts to track down
the killers. Before success comes, there's a fight to
the death on the edge of a cliff, and the villagers
try to lynch the heroine's father among other things.
Blood is very pretty in Technicolor. Foran gives his
usual virile performance, with both Gale Page and
Gloria Dickson working to get him.
UP THE RIVER— 20th Century-Fox
IF you are not so sick of prison pictures that you
can't stand even the thought of them, you may find
some humor in this. It was made for the first time
eight years ago. and this is a better version, but the
idea of kidding the American prison system still
stands.
Of course, it's a matter of opinion whether or not
going to jail is funny. Anyway, this is the story
of two confidence men in stir, who discover a
youngster about to make a break for freedom. He
is Tony Martin and he's pipped because crooks are
after his family's savings. Preston Foster and
Arthur Treacher are the confidence men and they
fix e%'erything. In addition, they steal the picture.
Phyllis Brooks is the girl.
AYES YOUR PICTURE TIME AND MONEY
THE BEST PICTURES OF THE MONTH
Out West with the Hardys
Blackwell's Island The Dawn Patrol
The Cowboy and the Lady Pygmalion
Dramatic School Thanks for Everything
Flirting with Fate Thanks for the Memory
Prison Without Bars Trade Winds
There's That Woman Again
BEST PERFORMANCES OF THE MONTH
John Garfield in "Blackwell's Island"
Gary Cooper in "The Cowboy and the Lady"
Merle Oberon in "The Cowboy and the Lady"
Harry Davenport in "The Cowboy and the Lady"
David Niven in "The Dawn Patrol"
Luise Rainer in "Dramatic School"
Paulette Goddard in "Dramatic School"
Joe E. Brown in "Flirting with Fate"
Mickey Rooney in "Out West with the Hardys"
Virginia Weidler in "Out West with the Hardys"
Jack Haley in "Thanks for Everything"
Melvyn Douglas in "There's That Woman Again"
Virginia Bruce in "There's That Woman Again"
Joan Crawford in "The Shining Hour"
Margaret Sullavan in "The Shining Hour"
Fredric March in "Trade Winds"
Joan Bennett in "Trade Winds"
* THERE'S THAT WOMAN AGAIN—
Columbia
IT may slightly disconcert you when you discover
that the "woman" in this is not the same one who
pleased you in "There's Always a Woman." And
since this delightful film is a sequel to the other.
with Melvyn Douglas still playing the detective:
and since the "woman" in the case is his wife . . .
Well, anyway. Joan Blondell (who was in the first
film i miraculously changes into Virginia Bruce
here, which is some kind of a score for Melvyn and
Columbia — especially when you consider that not
an ounce of comedy or drama is sacrificed to the
change.
The idea, you may remember, is that hard work-
ing and conscientious Snooper Douglas has got a
wife who is pleasantly hair-brained and who also
wants to detect. Her methods are questionable, but
somehow or other she turns the trick in the end.
Now. the problem that faces Melvyn and Virginia
is a little matter of systematic jewel thefts from a
swank jewelry' shop. People seem to die all over
the place and Melvyn is called in to do something
about the situation. He gets himself a suspect, Gor-
don Oliver, and is progressing well enough when
Virginia decides to crack the case on her own. From
that time on Melvyn is hampered to distraction be-
cause he not only has to chase down clews but Vir-
ginia also.
There's a good trick in this plot: there is also
Margaret Lindsay, as co-owner of the jewel shop:
Stanley Ridges and Pierre Watkin, all doing good
work.
* THANKS FOR EVERYTHING—
20th Century-Fox
In a country now suddenly full of intense prop-
aganda which is meant to incite America to hate of
the 1914 variety, this is a pleasant film pill for quick
swallowing. Aside from being an entertaining pic-
ture, it discounts the "let's go over there and show
them" theory and puts in a plug for honest Ameri-
canism. The story is built around the nation's sam-
ple Average Man, chosen by a contest which
Adolphe Menjou's advertising agency sponsors.
Jack Haley wins the prize and rushes off to New
York to get it; then Menjou and his assistant. Jack
Oakie. have a brain storm: why not watch Haley,
find out what he likes, and predict the trends in
buying and selling? To do this they must keep
Haley poor. So they cheat him of his prize money
and give him a cheap job with the agency. The
picture reaches its high-gear speed when an Am-
bassador employs Menjou to find out whether or not
the average man would go abroad to fight. Oakie
and Menjou get Haley bedridden with poison ivy
and ply him with fake newspapers and radio pro-
grams. "Phooey." remarks Haley. "Let Europe set-
tle its own difficulties." Then the agency- fakes a
war aggression against America and it's a different
story: Mr. Average Man leaps out of bed and rushes
out to defend his country, with utterly screwball
results.
The romance quotient is supplied by Arleen
in, Haley's home-town sweetie, and by Binnie
Barnes. The cast has a good time: so will you.
(Continued on page 88)
4°
Foreign imports, domestic glamour,
romance, adventure — all exciting
set news for your 1939 screen fare
BY JACK WADE
HEAVE a sigh for gay, carefree Hollywood.
The old order changeth — the dear dead
days are gone. They're all punching
time clocks now! Stars and everybody.
Strange music it is to our ears, the regiment-
ing ring of a timecard, as we canvass the Holly-
wood movie factories on our monthly studio
check-up and set inventory. Everybody who
drags in less than $1,000 a week jerks the handle
— and you'd be surprised at the haughty high-
ups you know who rack their daily records just
like Minnie, the buttonhole maker.
Our snooping reporter says
there's a treat in store in "The
Little Princess" with Shirley
Temple, Anita Louise and Ar-
thur Treacher (top). "Hotel Im-
perial," Paramount's jinx picture
(remember?), gets going with
Ray Milland (left) and the
"almost jinxod" Isa Miranda
At Metro-Goldwyn-Mayer, for instance, where
our curiosity takes us first, the clang of the work
cards sounds like a general fire alarm. Not that
M-G-M pays off in beer checks and bottle tops
(still everybody can't be Garbo at $6,000 per),
but Metro is as busy as that cranberry merchant
putting up your New Year's screen fare.
Naturally, we make quick tracks for the Hedy
Lamarr picture. Or would you call it the Spen-
cer Tracy picture? Either way, it's called "I
Take This Woman," and from what we see of
this woman we'll take her, too — meaning Hedy,
of course.
Cannily, M-G-M picked a glamour script for
Hedy's first home lot picture. She's cast as a
New York party girl, dripping with satins and
ermine, and wearing a new Adrian creation in
practically every scene.
She's a pleasure-loving siren who has a lot
of fun all over South America with playboy
Walter Pidgeon, but finds real happiness slaving
in New York's Ghetto with crusading doctor
Spencer Tracy.
It's the Ghetto clinic we see, full of weary,
aged and downtrodden folk, among whom Hedy
floats about like a lovely dark angel. Lots of
close-ups in this scene, because it's Hedy's face
that will make her click if anything. She's a
little outsize in the body. Her hair, we notice,
is still long and sweeping. They wanted to put
it up in a pile-up hair-do, but Hedy said noth-
ing stirring, fashion or no fashion. And Hedwig
Kiesler has a mind of her own.
WE'D like to see Hedy the Glamour Girl punch
her timecard a little later, too — but Hedy isn't
all of Hollywood, so we move on to "The Girl
Downstairs" and imported Franciska Gaal.
50
HI
1^1 *f
m ' ™
i1 al
'
|K
i*T7*< t
-•» -
STUDIOS
Franciska is the Hungarian taffy-top "Buc-
caneer" girl that Cecil B. De Mille called "the
Helen Hayes of Europe." But even C. B.
couldn't keep her on the Paramount lot. They
let her go and M-G-M snapped her up. Now
she's making her first movie at M-G-M as Fran-
chot Tone hands in his last.
Franciska is in pigtails and a nightie as we en-
ter. This is a Cinderella-type story, with Fran-
chot a wealthy man-about-town forbidden to
see rich girl Rita Johnson. As the scullery maid
go-between, Franciska makes a little time her-
self with Franchot and things get exciting.
While Director Norman Taurog lines up the
shot, we get in a few words with Franchot,
which leads us to believe that he's not forsaking
Hollywood at all — just taking a vacation. "Hol-
lywood has been too good to me," he says.
"Anyway, I can't play on Broadway in the sum-
mer." What we gather is that after the Group
Theatre play, "Gentle People," and a little vaca-
tion in New York, he'll be back making movies
again.
Franciska is ready to go now, so we watch her
in a kitchen scene being very domestic with a
lot of pots and pans which get all mixed up with
the pigtails. She speaks an odd English learned
in six months of concentrated boning. But
when she drops a pot and yelps, "O-w-w-w-w!"
it's perfectly understandable.
"What's the matter?" Taurog wants to know.
Well, confides Franciska, she's been playing
tennis and her hands are all blistered. Tossing
the pots and pans around is no joke with her
sore paws.
"You ought to take up horseback riding," sug-
gests Taurog, grinning.
Franciska does a slow burn. "If I did," she
■
Another picture that seemed jinxed —
Eleanor Powell's "Honolulu" (top) — is
under way again. On the "Girl Down-
stairs" set, Franchot Tone (right,
with Rita Johnson) drops a hint that
will be exciting news for his fans
retorts, "you'd have me sliding down banisters
or something!"
HE find Robert Young in the same piqued mood
next door on the "Honolulu" set. He looks very
unhappy, sitting at a table amid the lush tropical
surroundings of an Island hotel. "Honolulu,"
in case you've forgotten, is the Eleanor Powell
Hawaiian picture with all the hula hip shifters
and plaintive music. It started six months ago
and then stopped. Now it's back at work again.
Bob plays a movie star with a wealthy Hawaiian
pineapple grower double and the plot is one of
those mistaken identity things — always a good
laugh; only Bob isn't laughing now. Eddie Buz-
zell, the director, is explaining a gag to him and
Bob listens as if Eddie were preaching his fu-
neral.
"In this shot," Eddie explains, "this great Dane
^
dog climbs up in your lap and licks your face.
That ought to be a great gag."
"For the Dane, maybe," says Bob sourly, "but
not for me!"
STARTLING is the word for the apparition
we encounter next at Warners — Jimmy Cagney
in chaps, sombrero and six-guns. Cagney, the
boy from the East side, has gone so Western in
"Oklahoma Kid" that his dogs growl at him
when he comes home nights.
We have to drive thirty miles to catch Cagney
the cowpoke killer at his chores. The old Iver-
son Ranch, near Chatsworth, which has been the
scene of rough-riding movies since Bronco Billy
Anderson, is Oklahoma this time, at a cost of
$200 a day to Warners.
Jimmy, Humphrey Bogart, Rosemary Lane
and Donald Crisp whip up the action in "Okla-
51
•. -.«>k on U Jimmy
lallj He'd
.1 in high gun at hia hip
i'd think i Six.
But the transformation w .. Jimmy
th a rueful face The high heels
him lame for .1 week and m did the hone.
■uldn't stand up and yet he couldn't .sit
down u which/1 says Jimmy, "is a terrible state
Back ui the studio, Warners arc busy with two
1 offerings called, "Always Leave Them
hing" and "Yes. My Darling Daughter."
Tin- latter is the film version of the play that
intrigued Broadway. It now makes jobs for
Priscilla Lane, Jeffrey Lynn, Fay Bainter, Ro-
land Young and Genevieve Tobin in Holly-
An ardent "woman's rights" feminist
cant take it when her own daughter goes mod-
ern about her morals.
Its our good luck to happen in on the key
where Priscilla is going away for a week
end and Fay finds it out. Few actresses in Hol-
<! can make us believe better than Fay
Bainter Beside her, Priscilla looks like a
drama school student; but it's personality that
counts in the movies — that's why Priscilla gets
top billing in the picture.
The scene we see is long and each time some
small thing isn't quite right for Director Bill
Keighley. Each time Priscilla carries a large
suitcase from the hall into the cosy little study-
where Fay Bainter sits. After a few takes it
gets monotonous. "I think I'll sell out my con-
tract." cracks Priscilla, "to a redcap!"
Next door on the laugh shift are Dick Powell,
ZaSu Pitts, Gale Page and Ann Sheridan in the
title of the month for us — "Always Leave Them
Laughing." In this, Dick's a corn belt musician
who thinks he's a great symphony composer,
but winds up as the jitterbugs' delight when he
gets to the big city. It's always comedy for
Powell, of course, comedy or music — and this
one has both, with Dick taking care of the vo-
cals and ZaSu rallying around for the laughs.
We watch Dick at his home dinner table sur-
rounded by a flock of loving old lady aunts.
ZaSu is one of these, very lavender-and-old-
lace-ish with her hair streaked by gray make-
up. They asked ZaSu if she thought she could
act an old lady and the irrepressible Pitts an-
swered, ''Act one? Good Lord, I am one!" But
it's not true.
We're pondering this when the scene gets
rolling. Then suddenly — bam! — a water glass
whizzes past our ear and smacks against an arc
light. "Oh, dear," wails a familiar voice, "I'm
sorry- but I forgot my lines!" We can't under-
stand what that has to do with assault and bat-
tery, until our guide explains that when ZaSu
blows up she always throws whatever she has
in her hand at whoever is handy! Quaint — what?
At Twentieth Century-Fox, there's "The Little
Princess," which is. as usual, all Shirley Temple.
Oh, there are Arthur Treacher and Anita Louise
and a few others hanging around just for at-
mosphere. The story makes Shirley a super-
rich little girl in an English boarding school.
But her papa loses his money and then every-
one is mean to Shirley. She's a persecuted little
. and what not — but it all comes out right
in the end. you can be doubly sure.
Shirley's stock is still up the day we catch
her. She's having a parly both on the screen
and off. She's all dressed up and as pretty as a
dimpled doll The Little Princess," as you
know, is in Technicolor (our idea of the best
idea of the season — Temple in Techni-
color) and for a while they tried to use color
make-up on Shirley. But it was no go. Her
natural tinting was much superior.
Shirley looks in the pink now; she's sur-
rounded by a score of little tots, extras in the
pictore and members of "The Little Princess
Club"— a tribute to Shirley's organizing talents.
When the routine over they all crowd
around Shirley. A tea party iled (they
still make Shirley's set day seem like fun) and
Mi- Temple capably herds the squealing
moviettes to a large table for the "business
meeting." They're all a little eager to get to
the food and crowd around Shirley. "You
mustn't smother your president, you know,"
she warns them.
PHOTOPLAY
BY GWENN WALTERS
Bette Davis, star of Warners' "Dark Victory,"
chooses a stunning all-suede costume for chic mid-
season sport wear. Voris, the designer, employed a
multicolor theme in its creation — moss green for
the long jacket smartly buttoned in suede, lipstick
red for the short-sleeved sweater blouse (which
peeks out at the square neckline of the jacket) and
walnut brown for the six-gore skirt. All the colors
combine in the pompon quill of the disc beret
NATURAL COLOR PHOTOGRAPH
BY PAUL HESSE
We get in on the tea party, which is very
noisy with delighted squeals as the LPC-ers do
away with stacks of this and that in the way
of goodies.
HE move on to the set of "Wife, Husband and
Friend," Warner Baxter's latest, in line with
the current Hollywood vogue of headlining pic-
tures so there won't be any misunderstanding
as to what ifs all about: "Rich Man, Poor
Girl," "Wife, Doctor and Nurse," "Wife Versus
Secretary," and so forth. All you have to do
is read the title and take your pick — nothing
left to the imagination.
The first thing Warner tells us, though, is
that, title or no title, it's the best script he's had
since he's been at Fox Hills — and that's some
years now.
The plot, one they dug up from the musty
files of shelved scripts, was originally called
"Career in C-Major." It's about wife Loretta
Young, who succumbs to the blandishments of
a phony voice teacher, undertakes a career,
Dick Powell discovered that "hang-
ing from the chandelier" wasn't just
a figure of speech when he was
handed the script of that gay com-
edy,"Always LeaveThem Laughing"
ruins Warner's home. So to get even Warner
warbles a little himself, finds he has a real voice
and becomes another Tibbett. Binnie Barnes —
she's all over these days — is the "friend" with
that understanding nature.
Warner surprises us by admitting he used to
sing for a living, on the stage and radio. When
he was a kid, he was a choir boy. "Fine," we
say; "then you can look like a singer anyway!"
"I can do more than that," he retorts. "How's
this?" Well, he's still no Tibbett, but it isn't a
bit bad.
But Gregory Ratoff and his rushing Russian
accent interrupt the impromptu concert. "Sink-
ing, is it? It's hecting I'm wanting," he ex-
plodes. So Warner bows to the inevitable.
"Hotel Imperial" has finally got going over
at Paramount after two ill-fated starts. "Hotel
Imperial" is the prize jinx picture in all movie
history. Dietrich started it first (although it
was done once before by Pola Negri in the old
days). Paramount called it off after dropping a
cool quarter million. Next came Margaret Sul-
lavan. Halfway through, she cracked her arm.
Again Paramount declared a costly moratorium
(Continued on page 79)
52
"Snow Bound" — M-G-M's star, Maureen
O'Sullivan, clad in a costume that assures
warmth, comfort and chic — a nctural water-
proof parka with red and white braid trim
and belt (which conceals a drawstring
waistline), teal blue gabardine ski pants and
gaily colored all-wool mHtsns and socks.
Maureen, on loan to Columbia, is now
currently filming their "Let Us Live"
Bull
Gladys Swarthout, currently appearing in Paramount' s
"Ambush," poses on these two pages in chic ward-
robe essentials for the fashion-conscious girl. Her
black Coney fur coat (left) is practically styled for
warmth and comfort, with loose open sleeves, broad
shoulders, and a collar that may be worn open, as
Miss Swarthout wears it, or closed tightly at the neck.
Her suit (above) discloses a more feminine version of
the so-popular tailleur. Of black wool knit, it fea-
tures a bias skirt and fitted jacket which is stylized
wirh small revers, draped sleeves, a single-button clos-
ing and patch pockets. A grey Cashmere sweater
tucks into the skirt in place of a blouse. Notice how
cleverly Miss Swarthout knots her printed chiffon
scarf into a novel pocket kerchief. A softly draped
beret of emerald green felt (insert, left) lends a dash
of color to this suit costume.
In the close-up on the left, you will see the detail
of the roomy rabbit's hair bag that Miss Swarthout
carries with the variable essential costumes shown on
these two pages. Her gloves are hand-sewn and one-
button.
Featured on the opposite page is a close-up view
of Miss Swarthout's suit without the jacket. Note
how the skirt belt closes with grey leather buckles in
polo style. The pocket kerchief is untied to fashion
a scarf — and the suit is now transformed into a smart
sport costume.
As an alternate coat, Miss Swarthout chooses this
Bernard Newman model of tweed, plaided in henna,
orange and green (opposite page, left). This won-
derful greatcoat strikingly tops many another frock in
Miss Swarthout's wardrobe.
It is interesting to note that the long bob continues
to be a favorite with Hollywood stars.
56
'
PHOTOGRAPHY BY RICHEE
5*H
■ ■
■ ■
The entire beach will notice this smart
play suit of white celanese rayon
jersey with bright coral accent. The
skirt is pleated, the waistline corse-
leted and the blouse draped in the
manner of the newest gowns. In bril-
liant contrast, the "slightly mad" straw
sombrero is of royal blue with bright
redstreamersand a vivid greentassel.
The spool-heel shoesareof fine woven
mesh with diagonal stripes of red kid
This costume (far left) for lazy
days in the sun has "dots" as well
as "dash"! Red confetti ones
spot the jersey panel of the wash-
able white celanese rayon shark-
skin frock; red harlequin ones, the
natural straw sunshade (that ties
curls in with a matching red
kerchief); red patent ones, the
cut-out sandals. The El Mirador
Hotel, Palm Springs playground
of the stars, is in the background
An Engadine motif embroidered
in dual shades of red, green and
blue gives the jacket of this
white flannel after-ski suit (left)
a gay burst of color. The
invisible zipper closing reaches
to a trick upstanding collar.
Shining nailheads stud the built-
up soles of the patent sandals
Though the Swissli coat (top)
looks genuinely sporty, it is
just the chic kind of wrap to
throw over your most formal eve-
ning gown at Sun Valley for a
dash across the snow in sleigh or
rumble seat! It has triple charm,
for it boasts warmth, casualness
and brilliance! The body is woven
of red, white and blue braid; the
sleeves are of cuddly white lamb
WARDROBE
Norway inspired this practical ski suit of
slate blue with reversible jacket (far,
left). Pale yellow knitted socks and
matching two-finger mittens lend golden
contrast. There is a cotton slipover under
the jacket in natural color with the new
Marsupial pouch at the neckline for carry-
ing cigarettes, hankies or mad money
Part of the fun of a day's exercise is
to relax in the evening as beautifully
as Miss Photoplay in this after-ski slack
suit of black velvet (left). The lapels and
pockets are embroidered in multicolor
silks and little sequins that gaily shine
out to challenge the sparkle of the
studded platform soles on the sandals
A perfect skating costume must be attrac-
tive as well as functional! The identical
black velvet outfits of Miss Photoplay
and her little doll (below) come from
Switzerland and are modeled after an
old Swiss garb. Orange and white braid
outlines the suit, silver buttons flash on
the coat and embroidered boutonnieres
of edelweiss spot the lapels. The perky
fur hat and the jersey shirt repeat the
accent of white. The brief skirt of the
suit is so cleverly cut it forms ex-
quisite arcs when whirled into motion
t *
PHOTOGRAPHY BY PAUL HESSE
These snow togs and play clothes were
flashed on the screen in tinted glory by
Vyvyan Donner inherTechnicolor Fashion
Forecast produced by Truman Talley for
20th Century-Fox. They were so gay, pic-
turesque and practical, too, that I recap-
tured their vision, knowing a study of their
clever detail would be of interest to you.
They are posed for these pages on Miss
Georgia Carrol, chosen by us from Miss
Donner's models to be "Miss Photoplay"
(I
PHOTOPIAY'S FASHION EDITOR
WANDERLUST
■
m
V V
\
M
Gwen Wakeling created this dress-
maker suit of brown woolen for Arleen
Whelan to wear in the 20th Century-
Fox production, "Thanks for Every-
thing." The little ruffles on the gath-
ered pockets and the ascot are of
honey-beige colored bengaline. The
skirt has four gores with slight hem-
line flare. Arleen tops her suit with
an exquisite coat of Safari brown
Alaska sealskin (above) with leg o'mut-
ton sleeves and a perky upstand-
ing collar. (This coat was selected
from Willard George, Los Angeles.)
Kornman
Dolly Tree, M-G-M designer, makes a final check of the clothes
she created for Rita Johnson to wear in "The Girl Downstairs"
Advance Spring Forecast: color of
primary interest; stripes impor-
tant; silhouette varied; hats gay
BY GWENN WALTERS
NOW that the New Year is swinging right
into spring it's time to get in step and
plan new clothes so that your wardrobe
will be fresh and colorful when the first blades
of grass peek through the snows!
Hollywood stars have already heralded the
coming of spring! Here and there a gay frock
peeks beneath a dark coat, a cluster of posies
masquerades as a hat, a fanciful shoe leads on.
Perhaps you too, daring dull winter to remain,
have succumbed to the lure of the first offerings
of the coming season!
These casual shopping ventures are fun as
they not only give impetus to serious wardrobe
planning, but also, and so importantly, arouse
curiosity about the coming trends.
Hollywood's many whispered rumors about
colors, fabrics and styles were so exciting that
I turned to M-G-M's designer, Dolly Tree (who
creates particularly for Virginia Bruce and
Myrna Loy), for a detailed early spring fore-
cast for you.
Attacking the matter of color as of primary
interest and importance for spring, Miss Tree
foresees a continued and more predominant use
of grey in all of its tones — grey in combination
with yellows, soft greens, citron, chartreuse, and
soft blues.
Grey woolens for suits and street dresses will
have stripes in varying shades and Miss Tree
says that stripes will be most important for
spring.
Thin black and white stripes will be extremely
smart for daytime: very bold stripes in all the
spring flower colors in chiffon for evening, as
well as very broad black and white stripes in
organza.
Other colors that will vie for fashion import-
ance include the range from yellow through the
various soft shades of green into sea-green,
green-blue and then soft blue.
In fabrics, there will be a reaction to the
smooth cloths for daytime. You will see a lot
of soft sheer woolens, gabardine and men's suit-
ing material. Net, tulle and heavy crepe are
included among the fabrics for evening gowns,
in addition to the striped chiffon and organza
previously mentioned.
The silhouette for daytime clothes will con-
tinue to be varied. Pleats, which have faded
through fall and winter, will swing again this
spring. Front skirt fullness will not be as
exaggerated and will be distributed more evenly.
Necklines will be up to the collarbone and softly
draped. The corseleted, high-low waistline will
continue, but there will also be a lively trend
toward bloused waistlines. Many sleeves will
be full and wrist-length, caught tight into
tailored cuffs. This will be a particularly inter-
esting feature to note in blouses. Miss Tree fore-
sees a revival of hand-embroidered and hand-
tucked blouses of chiffon and sheer crepe — white
or pastel. The outstanding evening silhouette
will feature soft drapery.
Untrimmed coats will prevail and coats,
instead of being in contrast, will match the cos-
tume. A strikingly new costume note will be
found in the double-breasted, fitted coat with
length halfway to the knee designed for wear
over a pleated skirt.
The basic costume for spring wear will be a
suit — man-tailored or dressmaker. The jackets
of the tailored group definitely will be longer,
but length should, of course, depend on one's
individual figure, just as the day of the set rule
in skirt lengths has long since passed.
Slim three-quarter length capes will be intro-
duced for formal evening wear. They will be
styled of the gown fabric and always lined with
color contrast. In other words, ensembles for
evening will be the thing.
Spring hats will be as gay and colorful as the
season itself. There will be many felts with
flower trims — very few straws except in com-
bination with felt or fabric. Velvet hats with
trim of spring flowers will be very high style.
The height of crowns will not be as exaggerated.
Brims will return — they will be particularly
dashing in line for their smartness will be re-
vealed by line rather than by width.
In closing. Miss Tree importantly stressed the
coming shoe trends.
Shoes will be more interesting than they have
been in years as there will be such a wide varia-
tion in their styling. Modified platform-sole
shoes for daytime and evening will have wider
appeal than ever as they make their appearance
in spring's exquisite contrast color harmonies.
You will find that these shoes will lend inspira-
tion for the selection of many a costume. Sport
shoes will also boast the raised sole-as a leading
trend.
Miss Tree foresees the biggesfc season yet to
come for the open-toe, open-counter and cut-
out vamp shoe. Sandals will be more popular
than ever and the pump gain new prominence.
Many models will be styled of elastic leather,
the medium which has already won its place in
fashion because of the glove fit and comfort it
assures. Patent will, as usual, be smart for wear
with prints, as well as with the season's "greys."
Doeskin, heretofore conceded to be a winter
leather fashion, will be carried over into spring
as well as summer mcdels. Jersey, both silk
and wool, will claim a top place in the shoe
fabric spotlight.
At the close of our chat. Miss Tree gave me
a peek at the clothes she created for Rita John-
son to wear in M-G-M's 'The Girl Downstairs."
I must tell you about one suit in particular, as
it struck me as being a grand costume for wear
right now.
Adapted from an English guardsman's uni-
form, it consisted of a double-breasted English
officer's mess jacket of red woolen — with brass
buttons and a little, high white collar — and a
black woolen pleated skirt.
In identical mood. Miss Tree completed the
suit with a busby — a guardsman's hat — of black
felt with black horsehair brush trim and a chin
strap.
I also glanced through the costumes Miss Tree
created for the ice ballet sequences of "The Ice
Follies." Joan Crawford's new M-G-M film.
This amazing group of costumes ranges from
Highland kilts to modern waltz gowns and I
wouldn't be a bit surprised if their several in-
fluences were felt in modern clothes overnight.
I left Miss Tree checking sketches and fabrics
for Myrna Loy's wardrobe and okaying com-
pleted costumes for Virginia Bruce to wear in
"Song of the West."
Now I must run on to do more fashion scout-
ing, and let you get down to spring wardrobe
planning!
61
THIS TAG IDENTIFIES
AN ORIGINAL PHOTOPLAY
HOLLYWOOD FASHION
LOOK FOR IT
WHERE TO BUY THEM
The smart advance Photoplay Hollywood fashions
shown on these two pages are available to you at
many of the leading department stores throughout the
U. S. right now. If you will write to the address given
below, sending description or clipping of the hat or gar-
ment, you will be advised by return mail where, in
your community, the item or items may be purchased.
These hats and garments come in all sizes and in all
popular shades. Address your letter to—
Jean Davidson, Fashion Secretary,
Photoplay Magazine, 122 East 42nd St., New York,
New York
62
IHESE little casual frocks for winter's sunshine
resorts will surely tempt you with their inviting
price of "under $10.00" and, if winter cannot be
your playtime, surely you'll want to purchase a
couple of them anyway in readiness for first warm
days. Betty Grable, appearing in Paramount's
"Campus Confessions," poses in these charming
frocks which are styled of "Spode Print" Re-
sortalin (of Du Pont Rayon yarn). White belt,
buttons and piping trim this popular two-piece
model (above, left). Note the soft fullness of
the skirt. (Sizes 12-20) Diagonal tucking gives
smart detail to the blouse of the high-neck trock
(center) which has puff sleeves, shantung collar
and cuff edging, a patent be'J and novelty but-
tons across the shoulders. (Sizes 1 2-20) The
tailored shirtmaker frock with short sleeves
(above, right) has a natural linen hemstitched
collar, two breast pockets, a narrow self-fabric
belt and natural wooden buttons from neck to
hem. (Sizes 16-44) Betty's frock (left) also fea-
tures diagonal tucks as dressmaker detail. Little
puffed sleeves, a tailored collar and a cut-out
patent belt give added style. (Sizes 12-20)
U WILL FIND IN THE SHOPS
u^L
PHOTOPLAY
MAGAZINE
FASHION
V
"■
'^
**#.» /»!
"THERE'S SOMETHING ABOUT A SAILOR!"
KEFRESHING as a breath of salt-sea air — this spanking
new quartette of cruise and resort fashions by Roxford and
Byron, who know their felts and straws as an admiral does
his navy. "Shoreleave" (above) is a jaunty Byron sailor
to be worn tilted well to starboard. Rough pineapple
straw in natural, to be the smartest color of all this sea-
son, banded with admiralty blue grosgrain. Modeled by
Frances Robinson, who is currently appearing in Universale
"The Last Warning." "Fore 'N Aft" (center) is a com-
panion piece by Roxford with the new high-lo crown, raked
fore 'n aft in proper nautical fashion. Of straw like your
boy friend's summer topper, in the prevailing natural color
to set off your cruise sunburn. Miss Robinson also wears
this Roxford straw. "Gob Hat" (top), as shown on Con-
stance Mooro, who is appearing in Universale "Buck
Rogers," is an adorable felt Byron in horizon blue, with a
surrealist sea gull in shocking pink and darker blue suede
just about to take off from the brim. You can wear it two
ways — down on one eyebrow or, if you're sporting bangs,
far back on your curls. "Whitecap" (bottom) completes our
nautical quartette. It's Roxford's version of the same
sailor" influence, with a squared-off diminutive crown in
the whitest white felt with a daring, two-color suede belt
in blue and gold for feminine inconsistency. Lovely
Constance Moore also poses in this stunning felt
>
X-
63
Maybe she can't work "add-ups" but, with the help
of her mother (above), Juanita's a whiz at diaolgue
SHE did nothing so commonplace as walk
into the room. She made an entrance;
hesitating just the right fraction of a sec-
ond in the doorway, unconsciously (I hope)
permitting her unusual beauty to register and
then, hand extended, an arch smile parting her
lips, she advanced and greeted us with,
"Don't mind my teeth, please. I'm just at that
in-between stage."
Juanita Quigley, seven in years, seventeen in
charm and seventy in intelligence, was being
interviewed.
Only a few evenings before, a Hollywood pre-
view audience had, by their constant laughter
at her comical scenes and hearty applause at
her more touching ones in the picture, "That
Certain Age," proclaimed Juanita an actress of
unusual merit and as such had recognized and
accepted her as a definite and important part of
motion pictures.
It's a funny thing about Hollywood. It has
completely ceased to regard child players as
cute but necessary nuisances. Bitter lessons
learned at troubled box offices have taught it
better. Hollywood now knows it is not just
"Butch" to her director, "The
Pest" to her pals — meet Juanita
Quigley, scene-stealer supreme
BY SALLY REID
the dimpled beauty of Shirley Temple, the un-
usual singing ability of sixteen-year-old Deanna
Durbin, the plump provocativeness of Jane
Withers or fresh precocity of Mickey Rooney
that lured in the customers when practically all
else failed. Upon Hollywood has dawned a
truth; ability and intelligence are not and can-
not be measured in terms of years. Behind the
dimples of Temple lives a quick, penetrating
mind, behind the voice of Durbin lies that di-
rectness of thought and unswerving sense of
values that audiences sense, respect, admire and,
more important, pay money because of it.
So luckily, at this propitious moment in
cinema history, in steps Quigley. An individual,
understood and respected, not because of two
inch long eyelashes and round dimpling face,
but because of her individualized intelligence
regardless of her shortage in years. And all
this in the year of our Lord, nineteen hundred
and thirty-nine.
She seated herself on a sofa pillow on the
floor, pulled her short red dres* over her round,
plump, hairy legs and gazed first at me and then
at her mother. Waiting for the conversation to
begin.
It didn't. So she began it.
"Naturally (this and the satisfying word 'per-
sonally' are her favorites), I can't remember
much about my first big picture. I was only
three and a half." A shrug of the shoulders and
a weary roll of the eyes shoved an undeserving
three and a half years right back in its disgust-
ing place. And let there be no further peeps
from that quarter.
"The name of the picture was 'Imitation of
Life' with Claudette Colbert," she went on, "and
I was her little girl. I remember everyone
called me 'Quack Quack' because I had a duck
called Quack Quack."
"Show Miss Hamilton the duck," suggested
her mother, who sat across the room in calm but
puzzled silence.
Juanita left the room with a slight mazurka
swing.
"I can't understand her today," Mrs. Quigley
remarked more to herself than to me, "she's so
wound up. So talkative. She usually has little
to say."
We thanked our lucky star for having chosen
this opportune moment for our visit. The time
when the natural show-offness of a child is in
full swing.
She returned with the celluloid duck. "The
prop man on 'That Certain Age' was the same
prop man on 'Imitation of Life.' " she explained
"and when he saw me he asked if I still remem-
bered the duck.
"Naturally," she went on, "I had to say 'Yes.'
(The eyes took a swing to the right and came
back bored and weary from the journey.) "And
so he brought it to me. He'd saved it all that
time. And now would you like to see my upper
plate? I wore it in all my scenes in "That Cer-
tain Age.' " (Continued on page 90)
65
ROMAMT
THE PRIVATE LIFE OF A
PUBLIC HERO
War strengthened a conviction Ron-
ald Colman held from early child-
hood and launched him on a career
that was to change his whole life
BY GLADYS HALL
THERE is always to be found one true ex-
planation of a man's personality, and it
usually goes back to his childhood experi-
ences. Ronald Colman— frequently called shy
even today, consistently called "Hollywood's
man of mystery" because he has refused to have
his private life publicized — was a shy, quiet and
unobtrusive little fellow who loved his privacy
even at the age of six. Already he had learned
that to avoid trouble it was safest to keep
quietly to himself: for. being the fifth child in
a family of six, he had possessed a father who
believed that children should be seen and not
Later, at an age when he should have been
romancing, he was still "keeping quietly to
himself." But then there was the matter of
funds also; for by this time young Ronald held
down a three-legged stool in the offices of the
Britain Steamship Co., but at meagre pay.
Then came the World War. Ronald enlisted
the day that War broke out. He quit his job
and joined the London Scottish Regiment.
I enlisted immediately." Ronald says, "more
away from the office than because of the
fighting spirit, which I did not have."
There was a month of training and then, in
late September of 191 1. Ronald's regiment was
sent across to France as a unit of The First
Hundred Thousand. Kitchener's famed "Con-
tempt ibles." Promptly upon its arrival in
Prance, the regiment was broken up and Ron-
ald found himself in the front line trenches. He
saw action at the first battle of Ypres, then at
He spent, in all. some six to eight
in the front line It was, ho says, "a
very bad. a very messy business." At Messines,
during an advance, a shell struck: there was an
explosion and "an inglorious casualty" — he
stumbled and fractured his ankle. When he
ble to leave the field hospital the <l
ordered him back to Encland. where he was at-
tached to the Highland Brigade for light duties.
He went into Scotland where he did mostly
In murmurous undertones and sometimes
in headline overtones Hollywood publi-
cized Ronald Colman, but few know the
truth behind the legends the town built
clerical work. After a year of this, the ankle
still unhealed, the medical board discharged
him altogether and, although he tried to get into
other branches of the service, he was turned
down.
"The War," says Ronald, a little ruefully.
"certainly taught me to value the quiet life,
strengthened my conviction that to keep as far
out of the range of vision as possible is to be
as safe as possible.
"I am not one of those 'veterans' who look
back on the War with the 'happy comrade' feel-
ing. There may have been gay times behind
the lines — I'm sure there were — but I can't re-
member them.
"I remember a kid of seventeen who was to
make his first advance one early dawn. He was
frightfully keen about it, excited. The sun
shone on his face as we advanced and it made
him look as though he were smiling. Maybe he
Ronnie, in 1916, as he looked when he was
touring England with Denby's Pierrot Troupe
66
RECLUSE
Colman "took one quick gander and fled" when he saw him-
self on the screen for the first time — in the role of a Jewish
pugilist (top). How was he to know that the names of Ronald
Colman and Vilma Banky (above, in "The Night of Love,")
would make history as Hollywood's first great movie team?
was. I've never been sure about it. We
reached the rise of a hill and the whole of Flan-
ders was spread out below us. Suddenly the
blast went off and there came the order to he
down, to he flat on our stomachs so that the
enemy ammunition might whistle over us. In
one minute we dropped: the kid never got up
again. He was killed in that first second of his
war experience. The smile was wiped off with
his face. The futility of it remains with me as
my memory of the War.
'There is another memory, also distinct: we
are a column advancing into action. We climb
a hill singing. 'Are We Downhearted.' singing
with the phony bravado which the hypnosis of
war hysteria makes you feel is genuine bravery
at the time. We reach the top of the hill still
singing. And meet a wounded soldier coming
down, retiring. The wounded soldier with his
mutilated face, laughs at us and shout*
now you're not downhearted but you bloody
soon will be!" These words were as true as any
I heard spoken at the Front.
"I loathe war. I"m inclined to be bitter about
the politics of munitions and real estate which
are the reasons for war."
DISCHARGED from the army, the next thing
Ronald had to do was get a civilian job and, as
he says, "get on with the business of living while
the seventeen-year-old boys carried on the
business of dying."
He could have gone back to his stool in the
offices of the Britain Steamship Company, but
he felt that he could not face that dull routine
again . . . "and still," he told me, "I did not
know what I wanted to do. what I wanted to be.
If I'd had a gift for writing that would have
interested me. I had a strong leaning toward
the medical profession, too. The war gave me
that. But to study medicine or surgery was,
for me, financially impossible.
While I was stalling around during that
troubled summer of 1916, I ran into an uncle
of mine who was with the Foreign Office. I
asked him if he could arrange an appointment
for me with a consulate in the Orient. He said
he'd put up my name. He'd let me know . . .
and then I collided with the theater. I ran into
some friends of Lena Ashwell's. Lena Ashwell
was a sort of English prototype of Ethel Barry-
more. Her friends, who were also acquain-
tances of mine, told me that Miss Ashwell was
putting on a sketch at the London Coliseum and
wanted a young, darkish man for a small role.
Remembering my work with the Bancroft Club,
when I first came to London, they suggested
that I dash over to see Miss Ashwell. I thought
that with the dearth of young men in London at
that time, young men both darkish and lightish,
I might do. So I dashed along and got the job
and had the thrill of playing at the London
Coliseum and the thrill of earning six pounds
a week. The playlet was The Maharanee of
Arakan" by Rabindranath Tagore and I played
the bit part of herald to the Princess. I wore
black face, waved a flag, tooted a trumpet.
"LENA ASHWELL, incredible as it seemed to
me, prophesied that I could become a great actor.
Nor did she pay me compliments alone. She
was kind to me in a very practical way, such as
inviting me to her very exclusive luncheon
parties to which only the elect of the theater
world were ever bid. She introduced me to
Sir Gerald Du Maurier, Charles Wyndham and
others and would always preface such intro-
ductions by saying. Here is a boy who will do
great things in the theater.'
"It is thanks to Miss Ashwell and to the in-
terest that Sir Gerald Du Maurier took in me
that I got my first sizable job. a bit in a play
with Gladys Cooper. The play was ""The Mis-
leading Lady" and was a tremendous success.
The reviews were excellent and my name was
favorably mentioned in most of them. But even
then I did not say to myself, 'I am an actor!
This is my job.' I still felt a passionate pre-
dilection for the theater. But I did decide to
bide my time, to let Fate decide my future for
me. . . .
"And then occurred one of those coincidences
which give to life its fictional quality. Sitting
alone in my flat one evening, reading an en-
couraging review of my performance in the
play, word came that my uncle had obtained a
promise of a position for me in an Oriental con-
sulate. I held the review in one hand, my
uncle's note in the other. What to do? I knew
that I had to decide, then. No flashlight ex-
ploded in my brain leaving there an illuminated
answer to my problem. I remember that a mere
drop of the hand, a reflex action, decided it for
me. For automatically I dropped the note on
my desk and went on reading the review. And
my choice was made. It would be 'good copy'
to say that I paced the floor, downing whiskies
and sodas the while I wrestled at the cross-
roads. But I didn't. I made suitable expres-
sions of gratitude to my uncle for the trouble he
had taken and that was that."
So the young man. who didn't know that he
wanted to be an actor, continued on the stage
(Continued on page ~1)
67
Cal York's Gossip of Hollywood
(Continued /rom page 46)
f it is u we c..> t.. |
The little m.niKuri.st Cinderella, who
r asked ! I .ill. and who
may not keep it long, will perha]
something better Shu may find happi-
« nli a arming who—
and loyalty will help her to forget
i tiK> often di
name of "Heartbreak Town."
You Have Our Blessing, Children
WE'VE decided Lombard Ii the
absolutely ideal girl for Clark Gable.
why we think
upletely unselfish. Carole forgot
her likes and dislikes and took up,
wholeheartedly, the sport best loved by
Clark — shooting. First, by endless hours
of practice, she became an expert at
skeet shooting.
t. she turned her attention to
duck shooting. Gable's favorite sport,
and became equally proficient. Even
if it meant getting up at four o'clock of
a cold, foggy morning to get to the
blinds by daybreak, Carole was up at
3: 30 and had the sandwiches prepared
for the day.
"She's a better man than any of the
crowd who go," a friend told me, "and
the last to say 'Let's rest.'
"She goes out wading after her own
ducks and once when Gable suffered an
injured leg she went after his ducks,
too. If necessary, she'll clean her own
dudes like the rest of us and light her
cigarettes. She asks and expects
nothing in the way of favors.
"Sometimes I look at her traipsing
down the long dusty roads, the seat of
her hunting trousers bagging behind,
her hunting cap (the darndest I've ever
seen) plopped squarely on her head and
I think 'There goes Hollywood's glam-
our queen. And there goes, by gum,
the best sport with the stoutest heart
of anyone in Hollyw-ood.' "
Temple, Businesswoman
OHE finished the scene and walked off
the set unsmilingly, her little mouth de-
cidedly drooping at the corners.
The property men exchanged glances
of surprise and Director Walter Lang
turned to his assistant with an inquir-
ing glance. It was the first time any-
one could ever remember when Shirley
Temple hadn't gone out of a scene with
a smile.
Following her into her trailer, Direc-
tor Lang, really troubled, asked Shirley
the reason for the blues.
"Don't you like me, Shirley?" he
asked.
"Oh yes, I do, Mr. Lang," she an-
swered. (But the dimples failed to ap-
pear ) Only by coaxing was the reason
for Shirley's sadness revealed.
It seemed all the other children were
punching the set time clock but she.
"They clear forgot about me," she
It was explained that the new time
clocks were to be punched only by ac-
tors who made lea than $1000 ■ week,
"You see. told, "it's the new
way of keeping track of their time. And
you make much more than $1000 a
■ k."
11, couldn't it be arranged so I
could make $1000 a week, too," Shirley
1. "and then I could punch a card
like the other children?"
They compromised and sent out for a
time clock all Shirley's own. This she
punches with great clee before and
after every so
"Keeping track," she explains.
What-Goes-on-Here
s
HE wore a gray felt tint that flopped
over one eye. She stopped her car be-
ffi Enema real-estate office out in
the Valley.
Her heavy stockings beneath the
plain skirt were strikingly noticeable
as she alighted from the car and en-
tered the office.
I am looking for the new estate of
Mr. George Brent," she said in tones
that bore marked traces of a Swedish
accent
The realtor stared hard, gave the di-
rections and watched from the door-
way as she drove away.
"Well, I'll be doggoned," he muttered
to himself.
He'll be doggoned? Well, what i.boutus!
Bigger and Better Bergen
I HE song, "She's the Girlfriend of the
Whirling Dervish," has been changed in
Hollywood to "She's the Girlfriend of
Edgar Bergen," for no sooner does Ed-
gar get himself properly interested in
a young lady than along comes some
swain, usually Ken Murray, and steals
her away from McCarthy's mentor.
At a party recently, Edgar amazed
the guests by escorting four beautiful
young ladies — Anita Louise, Helen
Woods, Andrea Leeds and Florence
Heller.
"Why, Edgar, how come?" cried the
hostess.
"Well, I'll tell you," Bergen ex-
plained. "Rudy Vallee is in town and
I thought maybe if I came with four,
Rudy or Ken or some of the other fel-
lows would have a heart and leave me
at least one."
Edgar went home with the hostess'
aunt.
Confidentially— About Gable:
iT occurred to us while we patiently
waited in Clark Gable's portable dress-
ing room for Clark to finish a scene
with Norma Shearer for "Idiot's De-
light," that maybe you, too, would like
to know something about that famous
Gable dressing room which is wheeled
from set to set.
The walls, to begin with, are knotty
pine. The dressing table, also knotty
pine, is bare and simple, with a single
mirror and two lights. There is no
make-up kit anywhere in sight. Two
ample-sized brass ash trays are fast-
ened to the walls — one by the red
leather divan and one by the red
leather easy chair, the only two articles
of furniture.
A cigarette box is nailed down by the
built-in dressing table. Two prints,
the tally-ho type, are nailed to the
walls. There is a clothes closet without
a single garment in it. Only an empty
box lies on its floor.
The day we were there, two scripts of
"Idiot's Delight," one opened to that
day's scene, lay on the dressing table
that contained no powder, comb, brush
— nothing to make our hero beautiful.
But on a small built-in shelf lay
what seemed to us the oddest selection
of books, for Gable, we could imagine.
One, autographed by its author, Mau-
rine Watkins. was labeled "Chicago";
another, "After the Storm," was also
autographed by its author, Arlo D. Pol-
lock.
But the third formed a climax that
now stops us in traffic for a mo-
ment's reflection. It was called "The
Rosalind Ruscell with Frank Delano
at the Troc in the town's most
knock-the-eye-out dress, a corse-
let and matching mad cap
A rare shot of the Lewis Stones.
The popular "Judge Hardy" has
reached his eighteenth milestone
as a screen star — a swell record
Parnell Movement with a Sketch of
Irish Parties from 1843."
I mean, wouldn't you think he'd want
to forget? Or doesn't he even know it's
there?
Portrait of a New Star
ANNA MAY, recently risen to fame in
RKO's "Gunga Din," is thirty years old
and a spinster by choice. She has had
many suitors in her day, but none that
pleased her.
Quiet and conservative, she dislikes
frills and folderols and was known
during the filming of "Gunga Din" to
object so strenuously to wearing a
jeweled headpiece that they cut it out
of the script. She did consent, however,
to don false eyelashes, since her own
failed to photograph.
Anna May is something of a moralist.
If her manager stays out late, she scolds
loudly until he returns. She is also
a tobacco addict, with a special yen for
cigarettes, which disappear in her pres-
ence with disconcerting rapidity.
She is inordinately lazy, insisting on
riding on various "Gunga Din" excur-
sions when she was perfectly able to
walk. Still, her earnings in pictures are
sufficient to support three friends.
Like many women, she goes in for
trick diets and will make a whole meal
on carrots and perhaps a melon or two,
including the rind. Like many women,
she is terribly afraid of thunder and
lightning and on the "Gunga Din" loca-
tion at Lone Pine disrupted many a
scene by her nervousness during bad
weather. Also like many women, she
harbors a strong affection for Cary
Grant and used to follow him around
at Lone Pine, much to his embarrass-
ment.
There are a few rather queer things
about Anna May, too. She likes to sleep
standing up. She has ears something
like Clark Gable's. And she eats a bale
of hay a day.
Still, these aren't too queer when you
remember that, after all, Anna May is
an elephant.
Stuttering Stork
AnDY DEVINE, about to be a proud
papa for the second time, went through
a strenuous time just recently trying
to explain things to his four-year-old
(Continued on page 70)
With a home in the East now, Lily Pons was a "visiting fireman" when
she went to Hollywood recently. At a party in her honor — Constance
Collier, Basil Rathbone, Lily and her hostess, Gladys Swarthout
68
PH OTOPLAY
Barbara Stanwyck says Want Romance?
ETIC SKIN"
TO pass the Love Test,
skin must be soft and
smooth. The eyes of love
look close— and linger —
would note the tiniest flaw.
Clever girls use the screen
stars' soap— Lux Toilet Soap!
This gentle white soap has
ACTIVE lather that removes
stale cosmetics, dust and
dirt thoroughly. It's so
foolish to risk the choked
pores that may cause Cos-
metic Skin, dullness, tiny
blemishes, enlarged pores!
Lux Toilet Soap leaves skin
soft — smooth — appealing.
STAR OF PARAMOUNT'S
"UNION PACIFIC"
Sue follows Barbara Stanwyck's advice.
has skin that passes the H@M1 "FliTT
9 out of 10 Screen
Stars use Lux Toilet Soap
EBRUARY, 1939
69
Cal York's Gossip of Hollywood
nucd /rout pd
job.
ag our baby"
hat rtork'
in th. • i .'t CataHna?"
.t (if tin- i
Why la th.it itork in the i
■ old
to 1)1 I'
Th.it eveninj "m'
: >. \ in<-> for dinner.
"Oh hello, Goldilocks," Tad cried, us-
ing hi.s pet nan !> "We're go-
Ing to have a new baby."
..id Carole. "Who'
ing to bring it?"
"Oh. " ■Drugged Tad, "some old bird.
Even daddy can't make up his mind
about it."
Money Speaks Louder Than Words
IT is now a matter of public record that
Father Flanagan received less than
nothing, in comparison to the terrific
profit M-G-M has made on the picture
"Boys Town." So the good Father and
Bishop Ryan journeyed back to Holly-
wood in the hopes of getting greater
compensation and proving to the world
that his school is still badly in need. At
M-G-M. Mr. Mayer gave a huge lunch-
eon. Father Flanagan was praised to
the sky. There was great to-do, with
Father Flanagan still wondering just
how all this was going to help his great
cause. Finally, it was announced that
M-G-M would donate a small building.
All of which helped, but "Boys Town"
on the screen is still ahead in the big
money. Just befoejp he left Hollywood,
Father Flanagan was talking to an
M-G-M star.
"Next time I come to Hollywood,"
said the priest, "I'm going to get myself
an agent!"
Foreign War Averted
ALL is quiet on the dressing-room front,
out M-G-M way. But there was a bit
of excitement when Franciska Gaal
heard that Garbo was back on the lot.
In no uncertain terms, Franciska, who
was occupying the Garbo suite, an-
nounced that she would not give it up.
She was assured that she would not
have to. Garbo would be asked to take
another suite and that was that. What
they didn't tell Franciska was that she
had been given the old Garbo suite. A
gorgeously decorated suite in the new
dressing-room building was all ready
and waiting for Greta to move in.
A Fog A Day
OPECIAL effects experts of Hollywood
have a right to the title of Miracle Men.
Take, for instance, the case of Paul
Widlicska, expert fog-maker at the
Goldwyn Studios. During the filming
of "The Cowboy and the Lady" a ship-
board scene featuring heavy fog was
called for. But, on that particular day,
Merle Oberon was also featuring
a heavy cold and was under doctor's
orders to stay away from fogs of all
as well as drafts. What to do?
Wid' with a medicinal fog
icvc that or not. He merely added
a little eucalyptus oil to the fog solution
— and, as a direct result. Merle came out
of the scene minus the cold in her head.
How Well Do You Know Your Hollywood?
Ann Sheridan in "Always Leave Them Laughing"
GRADE yourself five points for
every one you guess right. If
you get sixty or less, you don't
keep up with Hollywood. If your score
is eighty, you're doing quite well; and
if you have a score of one hundred, you
know as much as PHOTOPLAY. Check
up on page 83.
1. In "Song of the West" this actor
will get a he-man build-up and have a
fist fight with Victor McLaglen:
Nelson Eddy Robert Taylor
John Beal Douglas Fairbanks, Jr.
2. Mary von Losch is the real name
of this glamour girl:
Nona Massey Marlene Dietrich
Sigrid Gurie Annabella
3. One of these actors is the captain
of filmdom's cricket team:
Warner Baxter Ronald Colman
Basil Rathbone C. Aubrey Smith
4. This actress' real name is Louise
Dantzler:
Mary Brian Barbara Stanwyck
Louise Campbell Sally Eilers
5. Before she got her break in pic-
tures, she used to run an elevator in a
Chicago department store:
Jane Wyman Jean Arthur
Dorothy Lamour Claire Trevor
6. His performance in the play, "The
Last Mile," gave this actor his chance
in movies:
Ralph Bellamy Spencer Tracy
Leif Erikson Ray Milland
7. The real name of this attractive
actress is Ann La H iff:
Maureen O'Sulli van Nancy Carroll
Paulette Goddard Joan Blondell
8. In Hollywood vernacular, "best
boy" means:
A temperamental outburst by
a star
An actor who wears a toupee
The assistant to the head elec-
trician on the set
A dual role
9. And "put a tail on the tiger"
means:
To plug the sound equipment
to the camera
To connect the telephone on
the set
To light the overhead lights
Take your places on the set for
rehearsal
10. Lucille Langhanke is the real
name of this red-headed actress:
Lucille Ball Andrea Leeds
Rosalind Russell Mary Astor
11. More stars in Hollywood come
from this state than from any other state
in the country. About eighty stars hail
from:
New York Texas
Montana Nebraska
12. This actor was doing household
chores for his room and board when
he was given a contract:
Louis Hayward Tyrone Power
Allan Jones Michael Whalen
I 3. William Henry Pratt is this actor's
real name:
Boris Karloff Eduardo Ciannelli
Douglas Fowley Hugh Herbert
14. The first picture made in Cali-
fornia was released as a one-reeler. The
name of it was:
"The Birth of a Nation"
"The Count of Monte Cristo"
"The Woman God Forgot"
"Ben Hur"
15. What actress is called "Spuds"
by all her friends — because she loves
potatoes?
Joan Crawford Bette Davis
Claudette Colbert Priscilla Lane
16. This star's right name is Virginia
McMath:
Alice Faye Marie Wilson
Frances Dee Ginger Rogers
17. Studio dramatic schools devote
more time to instructing starlets on this
important factor in correct movie drama
technique than any other single point:
Correct posture
Display of emotion
Proper breathing
What to do with the hands
18. John Blythe is his real name:
Robert MontgomeryJohn Payne
John Boles John Barrymore
19. This actor was once a new York
policeman:
Dick Foron Phil Regan
Fred MacMurray Preston Foster
20. This handsome young actor's real
name is La Verne Brown:
John Trent Richard Greene
Alan Marshall Joel McCrea
Good Luck!
OIDNEY TOLER is on a spot. No other
film personality has been faced with
quite the situation in which he now
finds himself as the successor to the late
Warner Oland's role of Charlie Chan.
As the new Charlie, he must play a
part already fixed in the minds of his
audience, a tough job for any actor.
He says, though, that he will not play
Warner Oland, but Charlie Chan — that
he will present, not Oland's, but his own
conception of the famous hero of 20th
Century-Fox's popular picture series.
Toler is strictly American; was born
in Warrensburg, Missouri. There was a
Toler along with Captain John Smith
when the latter founded Jamestown,
Virginia, in 1607.
Will his conception of the character
of Charlie Chan be accepted by his
countrymen and the rest of the world?
Well, even he cannot answer that. He
can only do his best.
Look-Alikes?
rRED ASTAIRE may be very partic-
ular about publicizing his home life, his
wife and family. But Fred hasn't lost
his sense of humor or his perspective on
himself. Sitting in his dressing room
one lunch hour, Fred picked up the
morning paper. There, in glaring head-
lines, was the latest account of Laurel
and Hardy splitting up and the studio's
search for new partners.
"I'm the closest thing they'll ever find
to Stan Laurel," cracked Fred. "Wonder
if Babe Hardy could use me."
The Great McCarthy Feuds— And How!
c
HARLIE MCCARTHY has turned his
attention from his old feuding pal, W.
C. Fields, to Jack Benny. The latest
prank he's played on Jack has the whole
town laughing. It happened this way:
The Masquers Club in Hollywood
telephoned Jack to leave town so they
could give him a farewell party.
Jack, overcome at the honor, packed
his grip and announced he was leaving
for Palm Springs.
The party night arrived and Jack, ali
dressed up and face glowing, arrived
at the club. But, to his consternation, he
found that the gloating Guest of Honor
was none other than Charlie. The party
had been given in honor of Charlie's
becoming a member and not one Mas-
quer seemed to have any knowledge of
a farewell party for anyone named Jack
Benny.
You're right. It was Charlie on the
phone and now Benny doesn't know
whether to laugh at Charlie or give
dirty looks in Edgar Bergen's direction.
How to Stay Married
l»OW that Jack Oakie and his wife,
Venita Varden, have made up, Jack
steps up with a little advice to hus-
bands.
"If you diet, keep your sense of hu-
mor; don't grouch and don't take it out
on your family.
"I realize now that while I was shed-
ding those sixty-eight pounds I was a
pretty cranky person to get along with.
But no more. I'm going to try to keep
my shape and my wife at the same
time. I'll do my next dieting with a
smile — or I won't diet."
70
PH OTOPLAY
l/averfZme<?, Ifo&ZZTartd' wtf<
mss FOR THEM
\
WISE GIRLS DEPEND ON THIS EXTRA SKIN CARE—
THEY CREAM EXTRA "SKIN-VITAMIN'lNTO THEIR SKIN!*
Joy Teaches Girl — Nancy Hoguet gets a lesson in the fine art of hitting the Most Snapshotted Engaged Couple — Anne Clark Roosevelt faced the
Dull's-eye. Her fresh young skin gets simple and intelligent care. "I cream camera squad cheerfully for 4 hours straight in exchange for 3 weeks' pri-
ny skin every day with Pond's Cold Cream. That puts extra 'skin-vitamin' vacy before her wedding! She says: " 'Skin-vitamin' helps skin health.
nto it, besides cleaning and softening it." I'm glad to have this plus element in such a good cream as Pond's."'
SOCIETY
▲ BEAUTIES
f USE
r ponds
Big Moment— Camilla Morgan (nowMrs. Rem-
sen Donald) finds it takes two to cut a cake.
"I'll always use Pond's," she says. "When skin
needs Vitamin A, it gets rough and dry. Pond's
Cold Cream helps make up for this."
245 Presents — Marjorie Fairchild sails for Bermuda honey-
moon day after her wedding at St. Thomas's— one of the
prettiest weddings of the season. She says: "Pond's was famous
when I was still in my high chair. I use it for the reason they
did then— to smooth skin beautifully for make-up."
Vitamin A, the "skin-vitamin," is
necessary to skin health. Skin that
lacks this vitamin becomes rough
and dry. But when "skin-vitamin"
is restored, it helps make skin soft
again.
• Scientists found that this vita-
min, applied to the skin, healed
wounds and burns quicker.
• Now this "skin-vitamin" is in
every jar of Pond's Cold Cream! Use
Pond's night and morning and before
make-up. Same jars, labels, prices.
* Statements concerning the effects of the "skin-vitamin" applied to the skin are hased upon
medical literature and tests on the skin of animals folloxins; an incepted laboratory method.
Tun* in on "THOSE WE LOVE,
' Pond's Program, Mondays, 8:30 P. M., N.Y. Timo, N.o.C.
IM. IM». Pood'" I
FEBRUARY, 1939
71
Play Truth and Consequences With Jean Arthu
(Continued from page 14)
— but almost never tell one
what what not to do.
i doubt whether
I'm the kind of a person who
could follow the advice of ,iny-
.vho is not iif.n and dear
|0 :
7. |Q) What do you consider your finest
picture portrayal?
(A t done it as yet.
8. (Q) Do you have a bad temper?
(A ' 1 m afraid I have, because I
flare up quickly and say and
do tfaingl 1 later regret. But,
in self-defense. I must admit
that I'm beginning to avoid
situations in which I might lose
my tempi
9. (Q) What wai the last lie you told?
The last lie I told was— plead-
ing a previous engagement be-
e I wanted to stay home
and read rather than go to a
party that would have been
strenuous and enervating.
10. (Q) Who are your two favorite living
itar: — male and female?
(A) Miss Arthur took the conse-
quences. (Pose for us as all
three characters of the famous
painting, "The Spirit of '76.")
11. (Q) When have you ever used glyc-
erine in crying scenes?
(A) I have never used glycerine.
12. (Q) Why do you dislike to give inter-
views?
(A) I dislike giving interviews be-
cause some interviewers ask
stars the kind of questions they
wouldn't put to their best
friends. I don't feel that my
ideas and opinions are impor-
tant enough to be broadcast.
Also, I find it difficult to open
up easily with persons I don't
know well.
13. (Q) Do you feel that you lost popu-
larity when you were away from
the screen?
(A) Perhaps, but I was very for-
tunate to have the opportunity
of returning to the screen in
"You Can't Take It With You."
I would rather make very few,
but very good pictures which
audiences will remember and
me along with them, than be
on the screen constantly in the
kind of pictures that might re-
sult in an even greater loss of
popularity.
14. (Q) Are you a fan of Shirley Temple?
(A) I think everyone in the picture
bush • fan of Shirley
Temple — I've never worked
with her, but I like to watch
her pictui i ■ she seems
to do with ease and noncha-
lany of us strive
very hard to achi'
15. (Q) What characteristic of Hollywood
and Hollywood people annoys you
most?
(A) Miss Arthur took the conse-
quences. (Draw a picture of
yourself at your favorite pas-
time.)
'6 (0) Of what are you most afraid?
(A) I am most afraid of intolerance,
world chaos, lack of under-
standing among human beings
— and spiders.
17. (Q) What is the smallest amount of
money per week you have ever
had to get along on?
(A) The smallest amount of money
I ever had to get along on
(there were two of us, my
mother and myself) was S18 a
week — sometimes not every
week.
18. (Q) Have you ever heard any unflat-
tering remarks about yourself when
you have been sitting in the au-
dience at one of your own pic-
tures?
(A) At one preview a woman (not
a lady) behind me kept saying
"Oh. isn't she fresh — I just
can't stand her!" By the time
the picture was finally over I
was convinced I was such a
miserable thing I didn't have
nerve enough to walk out of
the theater.
19. (0) If the United States should go to
war, how would you try to influ-
ence your husband on the subject
of his enlisting?
(A) If there were a war I would do
everything in my power to
keep my husband from going.
I would even shoot off his big
toe and if every woman in the
whole world would do the
same thing there wouldn't be
any more wars.
20. (0) Have you ever listened in on
crossed wires, or eavesdropped in
any way, and what is the most
interesting thing you heard?
(A) Yes, I've listened at the venti-
lator in my apartment in New
York to the couple fighting
next door.
21. (Q) Do you put your hair up in curlers
or such at night?
(A) Wish I could sleep on them —
it would save a lot of money.
22. (Q) Do you use a chin strap?
(A) I should when I read, as I sit
with my chin on my chest and
curled up like a pretzel. After
three tries I gave it up.
23. (Q) Have you ever cheated in a
game? When?
(A) No.
24. (Q) What is your opinion of your dis-
position?
(A) Miss Arthur took the conse-
quences. (Pose for us in a
football uniform.)
25. (Q) Which of your pictures did you
see the greatest number of times,
and how many?
(A) I see only the final preview of
my pictures.
26. (Q) Do you prefer men or women
friends? Who are some of them?
(A) I have no preference as to men
or women friends — I have sev-
eral of each and find them
equally stimulating. I don't be-
lieve in capitalizing on my
friends for publicity purposes.
27. (Q) If you had the choice of meeting
Garbo or 'he Duchess of Windsor,
whom would you prefer to meet
and why?
(A) I should prefer to meet Garbo
because I not only consider her
the greatest screen actress, but
because everyone who has met
her personally says her per-
sonality is even more vital in
private life than on the screen.
28. (Q) What things do you consider that
you do better than your husband?
(A) Make a fire in the fireplace.
29. (Q) When you read the papers which
items and departments interest
you most7
(A) Movie and international news.
30. (Q) What scene of dialogue in "You
Can't Take It With You" was most
difficult for you?
(A) My part in "You Can't Take It
With You" was all pretty dif-
ficult because Alice Sycamore
is purely ingenue and that is
the hardest thing to play.
31. (Q) Do you have a keen interest in
reading articles about yourself?
(A) It has the fascination of a hor-
rible accident.
32. (Q) What have you ever done, or
said, to shock your friends and
family?
(A) Miss Arthur took the conse-
quences. (Allow us to print a
picture which looks the least
like you, taken from your per-
sonal collection of snap shots.)
33. (Q) What is the item in your scrap-
book which you prize most?
(A) Reviews of the plays I did in
New York — even the bad ones.
34. (Q) Have you ever had any expe-
rience to make you believe in
mental telepathy?
(A) I only know that thinking
speaks louder than words.
35. (Q) Do you ever get loud or noisy,
and under what circumstances?
(A) When I play the "Acting Out"
game, or some other guessing
games. I get excited sometimes
and yell like mad.
36. (Q) What conduct marks did you
usually receive in school?
(A) I was angelic.
37. (Q) Of whom have you ever been
envious?
(A) I am extremely -envious of peo-
ple with curly hair.
38. (Q) What's your favorite cuss word?
(A) Aw, nuts!
39. (Q) By what term of endearment do
you usually address your husband?
What is his for you?
(A) Miss Arthur took the conse-
quences. (Write a fan letter to
Charlie McCarthy.)
40. (Q) Were you ever jealous of another
actress in any of your pictures?
(A) In "You Can't Take It With
You" I couldn't help envying
Ann Miller's wonderful danc-
ing ability.
41. (Q) What efforts do you make to
keep your figure?
(A) None.
42. (Q) What piece of Hollywod gossip
have you heard recently which
you passed on to your friends?
(A) I don't like gossip, Hollywood
or otherwise — either to hear it
or to relay it.
43. (Q) What is your sore spot? What
one thing called to your atten-
tion "gripes" you more than any-
thing else?
(A) It really "gripes" me to be ac-
cused of something I have not
done. But in gossip columns
this is continually happening
to the people in our profession.
A great actor once said never
to answer critics whether they
were for or against one — but
this doesn't prevent you from
"dreaming up" a nice black
eye or teeth knocked out!
44. (Q) As a young girl, who were your
movie crushes?
(A) Mary Pickford and Mary Pick-
ford.
45. (Q) Did you ever write a fan letter.
and to whom?
(A) Mary Pickford.
46. (Q) What is the extravagance you
can't resist?
(A) Buying hats for my mother she
never wears.
47. (Q) In shopping do you believe that
a salesperson rates you as an en-
joyable customer?
(A) I dislike shopping and never do
it unless I have to. I usually
know exactly what I want or
never take long to make up my
mind, so, if that's an asset in a
customer, I have it.
48. (0) Based on your early experience as
a photographers' and artists'
model, would you call it a safe,
or a dangerous profession for a
young girl?
(A) It's just hard work, believe me.
49. (Q) What unbecoming personal man-
nerism have you had to fight to
overcome?
(A) Frowning without realizing it.
50. (Q) What character have you played
which you consider most nearly
like yourself, and why?
(A) I don't think I've ever played
a character who was partic-
ularly like myself.
51. (Q) Of a'l the leading men you have
worked with, with whom did you
enjoy working least?
(A) Miss Arthur took the conse-
quences. (Outline three conse-
quences for the next star that
plays this game.)
52. (0) Do you rinse out your own stock-
ings? Shampoo your hair?
(A) I have rinsed out plenty of
stockings. — I can't get the soap
out of my hair.
53. (0) In what instances have you been
a "sucker" for high-pressure sales-
manship?
(A) I came home with five pounds
of "Sing-ie Bird Seed" and I
had no canaries.
54. (0) What is your real name?
(A) Mrs. Frank J. Ross, Jr.
72
PH OTOPLAY
Mens Li
yes
light... linger longer
on a slender, youthful figure... and
figures stay tliat way longer
if you keep tliem in
Foundettes
This smooth persuader is MUNSING-
WEAR'S new fouadetic panlie-
girdle. Cut high in front for extra
diaphragm control. Cut longer over
the legs, so there's no chance for
bulge. Luxurious exclusive lace of
silk, cotton and "Lastex"* with
one-way stretch "Lastex"* faille
panel. Style 4208. At tetter stores.
MUNSINCWEAR, INC., MINNE-
APOLIS. 'Knit of "Lastex" yarn.
W/A
BY MUNSINGWEAR
NOTMUn IT LOUIS! OAMl WOLFE • HIM IT • CUUUaC MONTEIL
JEWELS mow ol«» hitt
■o-
HAVE LIPS THAT ARE
WARM, INVITING
-YET NEVER "OBVIOUS"
IN THE MORNING: Apply
Angelus Lipstick.
HOURS LATER: Your makeup is still thrillingly "natural-
looking". ..no need for constant retouching.
You Simply I rse this SPECIAL Lipstick that's
made to Blend with the Color of Human Blood
IT'S GAY AND ALLURING— YET WITHOUT A
TRACE OF THAT HARSH, "WET- PAINT" LOOK
MEN DESPISE
HERE'S a special type of lipstick
that gives your lips an enchant-
ment you never dreamed possible.
It is called Angelus Lipstick and
from the moment you apply it, your
lips become alive . . . inviting.
And you don't need apply Angelus
Lipstick so often — for it stays per-
fect for hours, and there is no need
for constant fussing and primping
to keep yourself attractive.
If you prefer cream rouge, try
Angelus Rouge Incarnat. It is made
in the same warm colors for use on
both lips and checks.
Many smart women achieve pcr-
• lake-up harmony by using their
Angelus Lipstick or Rouge with
Angelus "Poudre Incarnat" — the
triple refined face powder that comes
in five flattering shades matching the
most popular colors of Angelus Lip-
stick or Rouge. Just ask for it by the
same number as your Angelus Lip-
stick. Try this yourself — see how
magically they blend with each other
and your own coloring.
For a blue-red shade to perfectly match
this seasons most popular costumes try
FORMAL RED
Lipstick 404 - Rouge Incarnat 405
AT ANY DRUG OR DEPARTMENT STORE.
Melvyn of the Movies
(Continued from page IT)
o
Canada, did not bring the mental chaos
of the other changes and Melvyn !!•
I g could mention casually to
.schoolmates that his father was teach-
ing in the Conservatory of Music.
And there was being twelve, and a
strange, puzzling, uncomfortable change
within himself; and soon after, in the
next year, there was falling in love for
the first time — since falling in love was
now possible and young Melvyn never
the one to take tardy advantage of any
situation.
I HE August, 1914 afternoon was bright
with sun but the wooded lawn of the
library had five or six lakes of shade
on it, under the canopies of old trees.
Gratefully sprawled beneath the largest
of the sycamores, a half dozen adoles-
cents waited for a cooler hour. They
were at peace, their talk fragmentary.
"I'm going to the matinee downtown
this afternoon," one of the youngsters
put in irrelevantly. "They're showing
a Western. It's got Bill Hart in it."
Melvyn stood up. "I'll go with you."
The boy who had spoken shifted un-
comfortably. "I — I'm taking a girl — a
girl I met last week. Her father works
in the shops. She's gonna meet me
down at the corner by the mail-box."
Suddenly the boy's expression changed.
"Your mother won't let you know that
kinda girl, Melvyn."
In the other's grin young Master
Hesselberg caught a shade of forbidden
wisdom. He did not know what it
meant, but with all his vital young
heart he resented it. Here again were
the implications of his sheltered life
and his mother-inspired attitudes, as
there had been so many implications
in the grins of so many boys before.
Melvyn was big for his age — long-boned
and tall and lean muscled — and when
he let the boy get up from the ground
five minutes later that boy's nose was
gory and one of his front teeth wobbled
as he snuffled.
That same afternoon Melvyn, his hair
brushed and his bruises washed, walked
slowly up to the corner with the mail-
box and tipped his hat to the young,
dark-haired lady who (with obvious
impatience) waited there.
'Jimmy's had a little accident," he
told her.
"Bad?" she questioned. "I mean, is
he going to die?"
Melvyn shoved his skinned right hand
into a pocket. "He'll be all right, but
he said would I take you to the show.
I said sure." He waited.
After a hesitant moment she said,
"Well, let's go."
Melvyn was suddenly shaky with re-
lief.
They held hands during the picture,
in the gloom of the little theater. Dur-
ing the intermission, while reels were
changed, the pianist banged out a new
song, "Poor Butterfly"; and another,
'Pretty Baby."
Then, suddenly, the lights went on,
the piano wavered to silence, the man-
ager of the theater stepped out on the
stage. He stood, his arms raised for at-
tention. His voice was harsh with ex-
citement.
"England has declared war on Ger-
many!" he shouted.
The words, like an electric impulse,
fused the small audience into explosion.
When the confusion had died down —
the frantic singing of "God Save the
King" and the jostling of some to leave
the building as if the manager's cry had
been "Fire!" Melvyn found the girl
had gone. He never saw her again.
1 le had had, that summer, a job as er-
rand boy for a drug store, but the fol-
lowing spring, when school was out, he
looked around for a job that would get
him away from home for a few months.
His mind did not construct this desire
in any analytical terms — he was just
fed up. But the oppression that suffo-
cated him could be translated in terms
of his mother's increasing supervision
of his personal life, of the Sunday
Salons when he was instructed to make
sandwiches and later serve them to the
small group of intellectuals who were
his parents' guests.
Word came to him of a farmer who
needed a hand for the season, and
would pay room and board and ten
dollars a month. Melvyn had it out
with his family and took the job. It
was his first open revolt.
His boss was a hard-bitten old Cana-
dian, with a lean and disillusioned an-
cient for a wife (a bun of mouse-col-
ored hair was coiled stingily on her
lean neck) and a highly unattractive
daughter whose virtue, though never
so far the object of attack, was guarded
zealously by word and shotgun. Here,
in a draughty farmhouse eight miles
from civilization, Melvyn had his first
taste of hard living. He was worked
pitilessly during the hot day, starved
on a diet of boiled potatoes and fat salt
pork, and presented with religious
tracts in lieu of entertainment.
In the second month, on an afternoon
bursting with heat, he was sent to hoe
some rows in a potato patch. Ex-
hausted, he lay down for a moment to
rest and fell asleep. The farmer dis-
covered him, fired him on the spot, re-
fused him the second installment of the
ten dollars due him, and let him walk
the eight miles to the railway.
He made the long trek without stop-
ping, his throat aching with swallowed
tears, his face black with the dust his
feet struck up. Despite what had hap-
pened, he did not want to go home;
there was only one consolation. The
daughter, starved for love and in love
with him, had been getting reckless. In
the end, he might even have had to
run away on his own initiative.
DACK in Toronto, he faced again the
life he knew, and winced at the sight
of it. He was fifteen now, precociously
tall, with a light stubble of beard which,
to his delight, needed shaving. He
looked at least eighteen. All about him
the home-office-inspired patriotism of
that year seethed furiously; as he
walked down the streets recruiting of-
ficers, with fanatic looks in their eyes,
caught at his arm and enjoined him to
enter the Cause. "A big guy like you,"
they said, "staying safely at home while
the Kaiser raises hell Over There. . . ."
Staying safely at home . . . the
phrase caught in his mind, washed back
and forth like a little soup in the bot-
tom of a bowl, worked at last into an
idea for escape. That winter, his ideas
and attitudes still muddled, his emo-
tions still curdled by adolescence, but
with his obsession for freedom from
family ties coloring them all, Melvyn
went to a recruiting office, swore by
what the world then held holy that he
was eighteen, and joined the 48th High-
landers.
He faced Edouard and Lena that
night, white-faced. "A man has to do
something about this thing," he told
them passionately. "I've done it and
it's too late to change it now."
"That." murmured Professor Hessel-
berg softly, "is what you think."
The next morning Edouard had a lit-
tle chat with certain officials, with the
74
PH OTOPLAY
immediate result that Melvyn was
quietly released from service, and fur-
ther, that he was sent back to school
with his allowance curtailed and his
young mind more confused — and em-
bittered— than ever. If before he had
been even faintly uncertain about the
motive of his rebellion, now that un-
certainty was gone for all time; only
now he would know better. He would
not trust anyone again, ever.
Thus, the following summer, he made
no mention of his plans, but got a job
with an iron foundry (engaged in mu-
nitions manufacture) and held it for
days before reporting his activities to
his family. By this time — he was al-
most sixteen now — he was achieving a
more intellectual concept of his views,
of his fight against the small traditions,
the convenient conventions; wherefore
he wore his grime and his overalls with
certain pride, found a kind of pleasure-
able release in sweating elbow to elbow
with immigrants, in catching the same
trolleys with them at the end of a day*s
work.
The Hesselbergs maintained a plain-
tive silence, made no attempt to stop
him.
IT was that year that he met another
girl. She is important solely because
she implanted in his mind the seed of
the stage as a possible future. He had
seen her often before — third from the
left, front row, at the burlesque which,
in company with other hooky players
of his class, he viewed each Friday
afternoon.
Actually he met her for the first time
on the aft deck of the boat going to
Center Island.
Rather, she met him. She came to
stand beside him at the rail. Just be-
low, the close-in wake was liquid
churned quartz ■while a harvest moon
painted the far surface a fantastic soft
yellow.
She was small, with a body of lan-
guid movement, under-toned with ex-
citement. Immediately he was enor-
mously aware of her.
"Hello." The voice belonged. For a
time they stood in silence.
"I'll see you on the Island?" he asked
finally.
They were almost there. She nodded.
There was a flamboyance, an intense
meaning to that week end. . . .
llN the last night they sat side -by-
side on the sand, looking out at the
calm lake. He had not told his age.
There had been no need. But she had
confided to him that she was seventeen;
and further, that she was fascinated by
him.
He had not even thought of laugh-
ing. Besides, she had an idea. "I could
get you on as a juvenile with the
troupe," she was saying now. "You
want to get away — " (He had told her
a little of himself, not too much) " — and
we're leaving on tour next week. Other-
Wise — I'll never see you again."
He took her in his arms with that.
Why not go? his mind said. Why not?
But another section of his brain, a sec-
tion rooted in his training, intruded
with cold perception.
This girl is not really the girl, not
really your lije.
"I've got to check at home," he told
her at last. "There are things — " He
held her closer.
"You know I'm crazy about you. I'll
let you know about everything tomor-
row."
But he didn't.
And after that there was his father's
sudden decision to move to Lincoln.
Nebraska, to take a teaching post
there. Now it was 1917, and a New
Year's Day snow covered Rasputin's
fresh grave and the Lincoln intellectu-
als gave a succession of parties for the
Hesselbergs and their son. March came,
and the Tsar of all the Russians signed
his abdication, and Melvyn fell in love
again — with a shop girl this time. It
was April, and Commodore Vanderbilt
put his wife into one of the Lusitania's
life boats before going back to his cigar
in the splintered lounge, and Melvyn's
fraternity politely refused to see him
through formal initiation because of the
shop girl, and the French retreated at
Champagne, and the United States said,
"Lafayette, move over."
Twelve months went by, during which
the fraternity did not after all go to
hell, as Melvyn had suggested, but to
France. And the Hesselbergs, firmly if
casually, squeezed the shop girl out of
Melvyn's time and, finally, out of his
thoughts.
It was April, of 1918, and suddenly,
as a result of all these things — as a re-
sult of being seventeen; as a result of
mental catharsis — the "light" came to
Melvyn Hesselberg with so shattering a
roar that even in this present year, it
is still shaking him.
The scattered portions of his person-
ality came together and jelled. He was
his own man, possessed of his own will,
his own ego, his own inescapable des-
tiny and none of these things, except
in retrospect or in origin, had anything
to do with Edouard and Lena Hessel-
berg. These people were there still:
they were his; they were even once
more beloved; but the bonds were
broken.
He joined the army the next day. He
said to Edouard that night, "If you go
to them and tell them I've lied about
my age they'll courtmartial me and I'll
get a turn in the penitentiary." And
such was his only son's assurance, new-
found, his certain conviction, that the
Professor believed him.
The story of Melvyn's eleven months
in the United States A.E.F. is the story
of any youngster's 1918 experience. He
was not sent across. Melvyn Hessel-
berg, first class private, was sent from
Omaha to Fort Logan, in Colorado,
where he learned ten good stories, and
drilled and, when possible, got slightly
high.
He was transferred to Fort D. A.
Russell, Wyoming, and there learned
seventeen better stories, and drilled,
and got even higher in a local dance
hall. He did these things in company
with his fellows, as did all the dough-
boys. It was the same story. Except
for one thing. . . .
Toward the end of the summer his
company was moved from the dusty
heat swamp of Wyoming to Camp
Lewis, Washington, where cathedral
pines towered into a clear, cool sky and
where somehow the ragged lost spirits
of the men were softened a little. The
entertainment here was in Tacoma, at
the Soldiers and Sailors Club, which
had a distinct respectability. Here came
the daughters of fine Tacoma families,
inspired by unselfish patriotism (and
the chance at a good time) to lighten
the lives of the soldier-boys in divers
ways.
And on one September night to this
place came Melvyn, newly a sergeant,
seeking light romance.
He found Anne Dawson (we shall call
her that) and love — not as he had ever
known it, not as he had ever believed
it could be.
From one love to another — from Shakes-
peare to religious revivals and jrom
family intolerance to the freer life that
is Hollywood. Melvyn Douglas goes
blithely. Continue the hitherto untold
story of hisf ascinating and dangerouslife
In March Photoplay
%ce (fh£i guard against body odor
with this lovely perfumed soap!
^^f^T^^^F ^ «t drug, deportment
^U^^r and ten-cent stces
FEBRUARY. 1939
75
"Winter Dryness"
tends to Steal Softness from
your HANDS
"V7"( MJ ■*'<-■ them in tlie movies — adorable
-L "Hollywood Hands". Satin -smooth,
-"(i. their touch caresses! Some girls
lose this charm in winter. Little moisture
glands in your hand skin are less active;
wind and < old. .irtilu ial lieat and frequent
use Of water take beautifying natural mois-
ture from die skin. Quick! Supply extra
moisture for the skin with Jergena Lotion.
S eflGw li\e for hand beauty! Supplementl
the natural moisture. Two ingredients in
I gens serve many doctors in helping
soften harsh skm. N ! i grant!
I Jergeni help sou have hands that
attract romance. Onl) ~><>c. j ,r. iof_
• — at beauty counta s.
•MadcleineCarrolI
andFrcdMaiMur-
ray , o-ttUTcd in
r.ir.iiiil»uiii's"Cafe
Society". Notchcr
charming hands!
Jbr&bns larioN
2 of its fine ingredients arc the
same as many doctors use to
smooth and soften rough dun.
FREE/ GENEROUS SAMPLE
* and BOOKLET ON HAND CARE
The Audi* « Jergcus Co., 1750 Allied Sim t,
< im MUi.it i. <). (In Canada: IVrtli. Out.)
I «ant to iee for myself how Jenuu Lotion
helps to in air Bty hands smooth, soft and white.
I'lcascscndyourgcnerous/ree juwn>Z<ofJcrgcii9!
Lovers Courageous
(Continued from page 13)
two people who found their ultimate
happiness, not through fame and suc-
bul through heartache and despair.
It was back in Dubuque, Iowa, that
Father Sheehy introduced Don to little
Honore Prendergast, aged thirteen.
They were at a school party.
"Just puppy love," smiled the rev-
erend Father to Don's mother, who
came to him about it a short time later.
"Just puppy love."
But it was Father Sheehy who mar-
ried the two of them in 1932.
In the beginning, Don had his ups
and downs in the theatrical world.
Honore smiled through it all, and they
had lots of fun anyway, even though
there wasn't always a lot of money and
it was hard to make toast that first year
without burning ii. But there really
wasn't anything to worry about. If she
could just keep Don from playing long
shots at the races everything would be
all right. "I can manage," she said to
herself stoutly.
When Hollywood brought fame and
fortune to the Ameches by way of
screen and radio, Honore still managed.
Donnie and Ronnie, now aged five and
three respectively, came along and they
had to be managed, too. Don was away
all day at the studio and radio station,
but he always got home early, in time
for a romp with the little boys. "One
day," he would tell the youngsters, "you
two young fellows will have a little
sister. She will make you behave your-
selves."
"When, Daddy?" Donnie would ask.
"When will we get a sister?"
"One of these days," Don would an-
swer. "Then you will have to watch
out."
And always there was Honore's smile
to envelope the three of them like a
golden light. Honore, always there,
ready to kiss away bumps, tie up sore
fingers, soothe away little boys' cares
and heartaches, and a big boy's fatigue
after a long tiring day.
But the morning came when Honore
herself was tired. Don went about
curiously elated in his anxiety. During
the day he talked to five-year-old Don-
nie on the telephone, telling him to be
sure to take good care of Mommie.
And in the evening he talked more and
more about how to take care of a baby
sister in case one should come along.
Sons Donnie and Ronnie listened
gravely, impressed with the responsi-
bility that they would one day have,
if they were lucky.
"What if we got a brother, Daddy?"
Donnie would ask. "Do I have to like
him? Or can I treat him as mean as
I treated Ronnie?"
"You better make up your mind to
make the best of him," Don would an-
swer. "Maybe some day we might be
able to exchange him for a girl." And
he would look over Ronnie's curly head
and smile at Honore, and she would
smile at him. They were very hap-
py. .. .
uNE day, not so many weeks later, Tom
Nair, an attorney friend of mine, called
on me in my hospital room. He had
just returned from a successful busi-
ness trip and was in the mood for talk-
ing. Finally, he got around to discuss-
ing the new streamlined trains. "By
the way. Don Ameche was on the same
train with me," he stated. "We spent
a lot of time together. I made a bet
with him that the stork would bring
the Ameche family another boy."
"He wanted a little girl, didn't he?" I
asked, thinking of the man in the
chapel.
"Yes," said Tom, "but he's a fool
about kids. I guess if it's a boy he will
be willing to keep it."
"Mrs. Ameche is here now," I told
him.
"So I read. I sent Don a note yester-
day congratulating him in advance and
hoping he loses."
I felt queer. "Yesterday," I said,
"you both lost. . .
Tom said, "My God!"
» « •
Again I saw a man praying — praying
this time, not for the little girl who was
now only a rosebud dream, but for the
little girl's mother, Honore, who lay so
pale and still in a hospital bed, her hair
parted in the middle and neatly braided
in two pigtails.
She looked like a little girl. She
smiled bravely, and Don smiled too.
How small and pale and courageous she
looks, he said to himself. There was so
much I should have done to help her. I
didn't realize that Donnie and Ronnie
were such a man-sized job. I wish she
had her little girl. . . .
How this is hurting him, thought
Honore. He blames himself. He thinks
I should have had more help, but it
was my fault. I should have realized
that Donnie and Ronnie were strenu-
ous. I wish he had his little girl.
Each saying to himself, "It was my
fault." . . .
Each loving the other just a little
more. . . .
Aloud, Don said gently to the frail
figure on the bed, "Now see here, young
lady, we are not to be selfish about this
thing. We have Donnie and Ronnie,
and there is always the future. . . ."
UON came to Saint Vincent's every day.
He sat beside Honore and held her hand
and told her how things were at home
and at the studio, how many cute things
Donnie and Ronnie had said. And
sometimes he just sat there, smiling at
her. Once, when she must have been
feeling a little blue, I heard him singing
softly, "We're a couple of soldiers, my
baby and me . . . Fighting shoulder to
shoulder, whatever may be. . . ."
One day, Honore said, "He is a kind
person. We were always in love, but
I don't believe I knew, until now, what
love really is. And how very fortunate
I am to be spending my life with a
kind person."
Don never did have much to say.
Just "Want some help, Kid?" or some-
thing like that, as he went by.
* » •
In Hollywood when a couple is mar-
ried, the public thinks, "How long will
it last?" Because they are all agreed
that there is no real and true love in
Hollywood. That love, as well as every-
thing else, is just a part, played on the
biggest stage in the world. But I won't
believe as they do — not since I met Don
and Honore Ameche, not since I saw
Don sitting beside a white bed, with
pain in his heart, singing to a girl whose
heart ached, too, even though she
smiled.
We're a couple of soldiers my baby and
me. . . .
I M IHI M W Jergcns all-purpose
am. Daily use helps against dry
skin. ".or. g -,r. lor.
.\<imr-
iI'LKASB 1'KlNTl
Strtrt
Cilj-
V../<
40th Anniversary of
Macfadden Publications, Inc.
Publishers o£ Photoplay
76
PH OTOPLAY
Romantic Recluse
(Continued from page 67)
and for two years things went very well
with him. After "The Misleading Lady"
he went into that charming and salu-
brious play, "Damaged Goods," playing
the part Richard Bennett played in the
American production. "Damaged Goods"
attracted considerable attention because
of its subject matter which, for the first
time, brought discussion of the social
diseases out of the clinics and labora-
tories.
"While I was in that play," Mr. Col-
man says, amused, "I felt my first acute
distaste for public recognition. It was
embarrassing to go about socially and
be pointed out as the 'hero' of 'Dam-
aged Goods.' The show played to ca-
pacity, however, and it took the air raids
to darken the theater.
"It was," Mr. Colman relates, with
some relish, "my 'success' in 'Damaged
Goods' which first drew me among the
shades. For George Dewhurst, one of
the pioneers of the British cinema, saw
my performance and came to me with a
proposition.
"Said Mr. Dewhurst, 'I am going to
make a two-reel comedy for the cinema
and I want you for the star part. It
will give you a fortnight's work and I'll
do the right thing by you, I'll pay you
a pound a day, not counting Sundays.'
"The 'right thing' indeed! That was
my foretaste of Hollywood's opulence.
A pound a day! The man was Midas!
But, so far as I know, the film was never
released. If it had been and I had been
able to see myself as others would have
seen me. I am sure that I would have
dashed back to my three-legged stool
in a jiffy!"
I OR the next three years Ronald skated
along on pretty thin theatrical ice. He
made occasional short films as "fillers-
in" between his stage engagements.
He first saw himself on the screen
when he played the role of a Jewish
pugilist in a picture titled "A Son of
David." In the Big Moment he was
supposed to knock out a burly ex-pro-
fessional boxer "who could," remembers
Mr. Colman, "have killed me and eaten
me with the greatest of ease. I went to
look at this picture, took one quick gan-
der and fled. My head looked like a
rotating ball on a body abnormally too
small for it. I was revolted."
Following that first brief film career
in London young Mr. Colman appeared
in a few more stage plays. It was while
he was playing in "The Great Day" that
he first met Thelma Raye, also in the
cast, and very soon after they met they
were married. Thelma Raye was the
first girl Ronald had ever "gone with"
at all steadily. They worked together in
the theater. They formed the habit of
having supper together every night after
the show. They decided that this com-
panionship, formed by the common link
of the theater, was love. And so they
were married, but the star of bright des-
tiny did not hang over that marriage.
IN 1919 the London stage suffered a ter-
rific slump and the actors suffered ac-
cordingly. Matters finally reached such
low ebb that young Mr. Colman, jobless
for too long, decided to go to America.
In New York he found that employ-
ment conditions for actors were not
much better than they were in London.
But the tide finally did a definite turn
for Ronald when he got the chance to
tour with Fay Bainter in "East Is West."
That tour did many things for the
young Englishman who was still being
an actor "because I didn't know any-
thing better to be." For one very im-
portant thing, it got his bank account
up and made it possible for him to re-
furnish his wardrobe "so that I would
not feel like hiding in a dark alley until
nightfall." And secondly, in the course
of that tour he met Ruth Chatterton. a
meeting and a friendship which proved
to be a real turning point in his life.
For in the Fall of 1922, thanks to Ru'.h
Chatterton, Henry Miller cast him in
"La Tendresse," which had a long and
successful run at the Empire Theater.
Ruth Chatterton and Henry Miller were
the stars.
It was during the year that followed
that Ronald first met Bill Powell and
Richard Barthelmess. And there began
the three-cornered friendship, the one-
for-all-and-all-for-one friendship
which has become a part of the Holly-
wood tradition. John Robertson, the
director, introduced the three young
men in the lobby of a theater. And at
once a rapport sprang up which was to
last through the years.
"We may not be three men with but
a single thought," smiled Ronald, "but
certainly we are three men who think
very much alike, and who have much
the same outlook on life, share the same
values, have enough in common to make
us friends for as long as we live."
n HEN a tide turns in the affairs of men
it turns exceedingly fast. It was so in
Ronnie's case. For one afternoon, after
a matinee of "La Tendresse," a card was
sent to the young actor's dressing room.
The card bore the name of Henry King,
the director. He came backstage then
and told Mr. Colman that he and Lillian
Gish had watched his performance, that
they were planning to film "The White
Sister," that they had searched every-
where for an actor who could "look
Italian," who had "a touch of Valen-
tino." Mr. King added, "I believe we
have found him in you."
Ronald Colman hesitated. He had
long since abandoned any idea of pic-
tures.
"Can I continue to be in this play if
I do the picture?" asked Mr. Colman.
"No," Henry King told him, "we must
go to Rome."
"I can't possibly do it, then. I wouldn't
leave Henry Miller."
"Mr. King explained," Ronald con-
tinued, "that I would have a sixteen-
weeks' guarantee at more salary per
week than I had ever dreamt of for
myself. I was tempted. But I repeated
that it would be impossible for me to
leave the play. If I did a thing like
that, I said, I could not live comfortably
with myself.
"But Miss Gish and Mr. King were
persuasive and Mr. Miller was very
kind. And so, on the following day, I
was given my first screen test and on
the day after that I found myself on the
Atlantic Ocean, in a steamer chair, talk-
ing with Lillian Gish."
"The White Sister" was, certainly, the
goddess in the machine of Mr. Colman's
picture career. For, upon the comple-
tion of the picture — six months in the
making— the company returned to New
York, Ronald did a part in a picture
with George Arliss and then went back
to Italy again, with Lillian and Dorothy
Gish, to make "Romola," Henry King
again directing. And it was while they
were in Italy finishing "Romola" that
Sam Goldwyn cabled Mr. Colman that
he had just seen "The White Sister" and
would Mr. Colman consider coming to
Hollywood as immediately as possible
to play in "Tarnish" with May McAvoy
and Marie Prevost? So the mountains
u6e Calox Powder* **
Add charm to your smile. To enhance the beauty of your smile...
to bring out the natural lustre of your teeth, take a tip from Holly-
wood— use Calox Tooth Powder, the same soft, smooth dentifrice so
many screen stars use before they face the camera.
Important Note: Calox is made specially to polish teeth to a brilliant.
sparkling lustre — a real beauty pol-
ish, without harm toprecious enamel.
Calox contains five tested, pure in-
gredients blended with prescription
accuracy bv McK Robbins,
whose products have been prescribed
for 106 year-. Approved by Good
Housekeeping Bureau.
Millions of people know cleansing
teeth with Calox Tooth Powder i- a
refreshing, delightful, wholesome
experience. Help your teeth to shine
like the stars'. Get Calox today at
any drug counter. Three convenient
CALOX
TOOTH
POUL) D€ R
long-lasting, economical sixes. Trid
size, Handy size and Family -
O 1939. McKesson * Robbins. Inc.
FEBRUARY. 1939
77
7 SECOND
MYSTERY
STORY
HOW DOES ACNES EVER
SATISFY HER CHILDREN
BETWEEN MEALS
WITHOUT SPOILING
THEIR APPETITES?"
HERE'S HOW she does it. She
keeps several packages of this
famous peppermint gum in the
house. The youngsters love it.
P. S. So do grown-ups I
ONE OF AMERICAS
GOOD HABITS
to the mummer. And
Willi few mi^'n mes, Konald Colm;m
Hollywood. Theie was noth-
'•iiis far, to warn him of the lurid
limelight with which Hollywood public-
ity would, increasingly, baptize its. . I
IT would take a telephone directory to
ill of the picture! in which Ronald
• .is. But it
with the making of "The Dark Angel"
that thru- came the next landmark in
career. And a landmark, too,
in the "career" of die cinema. For Vilma
Banky and Ronald Colman, starring in
ioldwyn production of still-blessed
memory, were the precursors of the
teaming idea which was later to become
so popular in Hollywood. They so
stormed the box office, the dark hand-
some man and the blonde beautiful
woman, that they continued to team in
some six or eight pictures, including
"The Winning of Barbara Worth"
(which also served to introduce Gary
Cooper to the screen), "The Night of
Love," "The Magic Flame," "Two
Lovers."
They were finally separated for the
reason which still "divorces" most
screen teamings . . . i.e. . . . the studio
can make more money by splitting a
successful team, putting a less well-
known player with each member of the
star- team, thus doubling their profits
from the divided merchandise.
"I made my first personal appearance
with the opening of 'Bulldog Drum-
mond' in San Francisco and in New
York," Ronald told me. "It was the first
time, excepting in Hollywood on occa-
sions and when I made my first return
trip to England after we did "The Res-
cue,' that I had really met the picture
fans face to face.
"It was a gratifying experience, pro-
fessionally. But I was terribly, horri-
bly ill-at-ease personally. I had to
stand before them, denuded of Drum-
viond, as myself. I knew then that I
would never be any good at that sort
of thing. I have never tried "that sort
of thing' again."
PlCTURE followed picture in such
rapid succession that the young man
began to feel suffocated. "The theater
is like Life," says Ronnie. "There is
feast or famine, there is no work at all
or there is nothing but work . . ."
He played in "Raffles" with Kay Fran-
cis, to whom he was promptly reported
"engaged." This was Ronald's first ex-
perience with "publicity" romances. He
did not know then that a suggested ro-
mance between a young man and a
young woman starring together in a pic-
ture helps to "sell" that picture. Ronald
and his wife were separated by this
time, but not yet divorced. But this
slight obstacle did not prevent the Press
from carrying "rumors" of his "engage-
ment," first to Kay Francis, then to
other girls with whom he worked in
pictures, occasionally to young women
he had not met at all.
Superimposed upon his natural reti-
, this sort of publicity created in
him a sharp aversion to any "meddling,''
either factual or fictitious, with his pri-
vate- life.
And he discovered that he was not
alone in his revulsion. Kay Francis de-
I "revelations" about her private
life and said so, trenchantly.
Ronald had, by this time, taken a
small house behind a high wall in an
outpost of Hollywood. He began, then.
his habit of entertaining his friends at
home or going to small private parties
in their homes. As he began to retreat
further and further from the spotlight
and the limelight where, most prolifi-
cally, the "cultures" of publicity were
i '1 and grew apace, the legends be-
gan to grow around his name. In mur-
murous undertones and sometimes in
headlined overtoni Hollywood called
Mr. Colman a "hermit," a "recluse," an
"anti-social" mystery man with some-
thing "very strange" about his habit of
Ion.
Ronald began to feel the need of get-
ting away from it all. He went abroad
He went to London to see his
people, to Paris, to Rome. He found
that no matter where he was he could
not get away from Ronald Colman, the
movie actor. He had become a trade-
mark, his face was a poster. He boarded
ship again and went around the world,
stopping off at remote ports. This was
a little better. But even in the most
unlikely places he found that the long,
prehensile finger of Hollywood publicity
had preceded him and that the trade-
mark called Ronald Colman was recog-
nized.
"I felt," he tells you, "exactly as I
used to feel as a boy when I stumbled
into the drawing room at home to find
that there was 'company' for tea, only
now it was not so easy to stumble out
again. For now the 'company' was
everywhere. . . .
"There are some demonstrations of
public interest in a star which are grati-
fying. If, at any time, for instance, a
stranger speaks to me, whether flatter-
ingly or critically, of some picture of
mine, I am pleased and interested. But
this is not the kind of attention we at-
tract, we who are on the screen. The
more restrained demonstrations of in-
terest accorded celebrities in other
walks of life are not for the likes of us!
Certain incidents are representative:
dancing at a club one evening I was
poked in the ribs by a jovial fellow who
circled about my partner and me,
screaming into our ears, 'Say, I heard
you talking to the lady just now and
you talked just the same way to Fran-
ces Dee in "If I Were King"; d'ya always
talk to women the same way? Boyoh-
boy, some line!'
"On another occasion I was dining
with a lady in an hotel restaurant when
a bibulous stranger wove his way to our
table and demanded that I dance with
his wife. It was, he said, a 'command
performance from the Little Woman.'
When I explained, rather unnecessarily,
one would think, that I was already en-
gaged he became very belligerent, very,
very noisy and wanted to know whether
I thought I was 'too good' to dance with
his wife!
"I remember well the occasion of Bill
Powell's first trip to England when I
tried to show him my London. We
started out for a day of sight-seeing.
And in the hope that we might not be
'sights' ourselves we took one of those
deep-seated taxis into which you sink
so low that only your eyebrows are vis-
ible. We hadn't gone more than half a
mile before we realized that we were
being watched, eyes were peering down
on us from the tops of busses, from the
windows of office buildings and private
DON'T MISS THE MARCH
PHOTOPLAY
Nina Wilcox Pufnam, distinguished
American writer, brings back one of
her most lovable characters, Marie
La Tour, old-time star. A fascinating
and funny novel of the believe-it-or-
not-side of Hollywood today, we pre-
dict this will be one of the most popular
serials we have ever published
Beginning in the MARCH issue
homes. We visited one or two of the old
landmarks and then gave it up. When
we had to sign autographs while stand-
ing on the stone in Westminster marked
'O, rare Ben Jonson!' we knew we were
licked.
"The glitter surrounding a screen star
has robbed me of many of the pleasures
and privileges I value, however peculiar
my sense of values may seem to be. I
am the sort of person who, perhaps un-
fortunately, does not care for the re-
wards so-called Fame brings. And
though a gift may be rare and costly if
you give it to a man who has no use for
it. it is not precious to him.
"The glitter called Fame has robbed
me of friendships, both old and new.
Some of my old friends who have not
been so fortunate with this world's
goods as I have been, naturally feel re-
luctant about accepting hospitality they
cannot return 'in kind.' On the other
hand, I often meet men with whom I
feel congenial and have reason to be-
lieve the congeniality mutual. Nothing
develops from these meetings. Because,
though it is nice to hope that they may
say to themselves, 'Colman seems a
pretty good sort,' it is certain that they
add, 'but — a movie star! I can't keep
up with that!' I don't blame them. But
such experiences do make me all the
more anxious to behave myself as a
private citizen when I am not at work.
"k „ „
HND so, eventually, said Mr. Colman,
"I decided to become a free-lance player,
to sign no more contracts for more than
one picture at a time. I made up my
mind to do not more than one picture a
year, two at the outside. This plan
would give me more time to myself and
less publicity. And this is what I do. I
read scripts when they are submitted
to me. If the script and the part inter-
est me, and all other terms are agree-
able, I make the picture. Otherwise, I
reject it.
"I did such pictures as 'Tale of Two
Cities,' 'Under Two Flags,' 'Prisoner of
Zenda,' 'If I Were King' because I
wanted to do them. I may make another
picture this year. I may not make an-
other picture for five years. Perhaps I
may never make another picture again.
I like the feeling of 'perhaps never
again.' It is an elastic phrase. It gives
me a sense of time and space and free-
dom. In the intervals between pictures
of my own choosing I can travel or stay
at home, seeing our friends, following,
though amateurishly, in my father's
horticultural footsteps. I have my home
in Beverly Hills, which • is now our
home. I have bought acreage on the
Big Sur in the northern part of the
state and some day we may build a
permanent home there, a ranch. There
is sufficient money for our needs which
are on the modest side.
"I do believe that my childhood and
early youth, my war experiences, my
early days in Brooklyn and New York,
all of the pieces which have gone to
make my particular pattern, have given
me a taste for living quietly. I stil! feel,
as I felt in my childhood, that the more
obscure I make myself, the happier I
will be.
"I may sound ungrateful about a state
of affairs which yields so many tangible
rewards as does this business of being
a star. In these difficult times, espe-
cially, a man should thank God that
people want to see him and are willing
to pay money to see him. I should like
to make it very clear that I am grateful
for the opportunities Hollywood has
given me to do my work. And very
grateful, indeed, for the comfortable re-
wards these opportunities bring. But if
I could step off a sound stage and be-
come invisible, I would be that much
the happier."
78
PH OTOPLAY
We Cover the Studios
(Continued from par ■ 52)
to the tune of more wasted thousands.
This time, it serves Isa Miranda for
her Hollywood debut.
"Hotel Imperial" presents Isa as a
clever aristocrat out to find the man
who ruined her sister and avenge her
death. In her manhunt, Isa travels with
a wandering theatrical troupe, meets
handsome Austrian officer Ray Milland
and gets mixed up in the big Russo-
Austrian-Galician battle of 1916.
Ray Milland looks very smart in his
Hapsburg uniform and Isa exciting in
her veiled hat the day of our set visit.
Next, we hurry over to what's cer-
tainly the smartest movie idea of the
month — "Cafe Society," which concerns
the fads and foibles of the smart inter-
national set.
Paramount tried to get a number of
the real Manhattan smarties for this,
but the only one they have rounded up
so far is Lucius Beebe. Meanwhile,
Fred MacMurray, Madeleine Carroll
and Shirley Ross are taking care of the
story about a cafe society leader and a
newspaper ship's reporter. Madeleine's
the capricious playgirl: Fred's the news-
hawk. He makes the mistake of telling
her she's no longer news, so she mar-
ries him to get her name on the front
page again.
CHECKING out of the movie studios
and on to Radio Row, we find the NBC
and Columbia radio temples quivering
over a few private earthquakes.
First of all, Hollywood's prestige on
the air took it on the chin when Wil-
liam Powell lost his job and Holly-
wood Hotel folded up for keeps.
Bill, however, will get another air
job, if he wants it; but the rumor is he
doesn't want another steady one. He's
still in shaky health. W. C. Fields' de-
parture from the Lucky Strike Hit
Parade was his own idea, however. No-
body can please Bill Fields with ma-
terial; he has to write it and it makes
him nervous. Bill is getting fat again
and having fun — and with his bankroll
he can do as he pleases. The third
movie star to fall by the microphone
wayside is Adolphe Menjou. They
couldn't see his moustache and his im-
peccable wardrobe over the air and the
Menjou voice was just another voice to
the millions. John Barrymore takes
over the Texaco show, but Ned Sparks'
buzz-saw voice remains — the only new
solid click among the many ambitious
air-minded movie stars.
George Burns' batty half, Gracie
Allen, is getting all the spare orchids
along Radio Row. She came up with the
new Gilbert and Sullivan type of musi-
cal air comedies which are lifting the
Burns-Allen program way up there.
The titles are her idea, too. For in-
stance: "Three Loves Has Gracie Allen
— and Two to Go!"
Carole Lombard is the biggest au-
dience draw of the season. When she
went on the Lux Theatre, all Holly-
wood's cops were sent over in a hurry
to handle the crowds. The most nerv-
ous movie star of the month was Paul-
ette Goddard on the Chase and San-
born hour. Before she stepped up with
Don Ameche to do "The Prisoner of
Zenda." her first dramatic broadcast,
Paulette stood in the wings and sipped
champagne for courage.
Charles Boyer's Woodbury Playhouse
engagement made a great radio im-
pression, but the memory of Boyer
around NBC is not so glamourous. He
came to rehearsals in a shiny old blue
suit, wearing slippers and no tie; he
spoke to no one. After each show he
slipped in to hear the Jack Benny
Broadcast.
Good News has a new name for
Frank Morgan — "Grandpop." Frank's
golden hair has turned completely white
since he has been on the show. The
sponsors sent a film notable a case of
coffee after he guestarred on "Good
News" and the star sent back a wire.
'Thanks, do you know a sponsor who
makes doughnuts?"
A NEW program, "Gateway in Holly-
wood," will open another avenue to
young screen hopefuls. Wrigley is spon-
soring it with veteran producer Jesse
Lasky and the lucky winnahs get an
RKO contract! But producers mixed
with radio spell only headaches to Irene
Rich. The other day her air script
burlesqued a movie producer and Za-
nuck and several other movie tycoons
called up fighting mad!
Bob Hope seems on the air to stay;
what's more, Mrs. Hope is auditioning
for a radio career. Bob's extra money
has gone toward buying a stained glass
window for his church in North Holly-
wood. A lot of Jack Benny's profits
of the last few years are now sunk in
a valuable piece of Hollywood property
on Sunset near the NBC and CBS
studios. Andy Devine's saving his spare
change; reason — the new addition to the
family. Lucille Ball is investing in a
Hollywood flower shop.
The best romance note of the month
concerns Edgar Bergen. His newest girl
friend is tall, attractive Helen Wood,
radio actress with "These We Love."
When he introduced her to Don Ameche
at NBC, Don cracked, "You ought to
get along swell with Charlie McCarthy
— with a name like that!" None of the
rest of Bergen's girl friends has,
though!
THE BERNARR MACFADDEN FOUNDATION
conducts various non-profit enterprises: The Macfadden-Deauville Hotel at Miami
Beach, Florida, one of the most beautiful resorts on the Florida Beach, recreation
of all kinds provided, although a rigid system of Bernarr Macfadden methods of
health building can be secured.
The Physical Culture Hotel, Dansville, New York, will also be open during the
winter, with accommodations at greatly reduced prices, for health building and
recreation.
The Loomis Sanitarium at Liberty, New York, for the treatment of Tuberculosis
has been taken over by the Foundation and Bernarr Macfadden's treatments, to-
gether with the latest and most scientific medical procedures, can be secured
here for the treatment in all stages of this dreaded disease.
Castle Heights Military Academy at Lebanon, Tennessee, a man-building, fully
accredited school preparatory for college, placed on the honor roll by designation
of the War Department's governmental authorities, where character building is the
most important part of education.
The Bernarr Macfadden Foundation School for boys and girls from three to
eleven, at Briarcliff Manor, New York. Complete information furnished upon request.
NOVT when you smooth vour
-kin for powder with Pond's
Vanishing Cream, you give it extra
-kin rare. Now Pond - contains \ i-
tamin A. the "skin-vitamin*1 nee-
e--ar\ to -kin health. >kin that lacks
tlii- vitamin becomes rough and
dry. Put when "skin -vitamin" is re-
stored, it helps make -kin -<>l"t again.
I -<■ Pond's ^ ani-liing ( Train be-
fore j»o\\der anil for overnight to
provide extra "skin-vitamin'1 for
\ ir -kin. Same jars. Same labels.
Same pri ...
*f» Stair mrnt* ronrernina; the effect* of the "*Lin-titamin" applied to the akin are bated upon
ni*,li. jl literature and te«t« on the skin of .inimaU ftillowinc an accepted laboratory method.
Tuna in on "THOSf WE LOVI," Pend'i Program. Mondoyi 8: JO »J«„ N.Y. Timo, N.l.C.
FEBRUARY, 1939
79
Hollywood Girls on Their Own
• Lip* thai invite love nin-t
be soft lips . . . nraetlv -niooth. blessedly
free, from any roughneM or parching.
So — choose your lip-tick wisely! Coty
Sob-Deb Lipstick doc- double doty. It lends
vour lip- \\arin. ardent color. Hut — it also
helps to protect your lips from lipstick parch-
ing. Y>ur lips, Coty-protected, look like -nit.
n 'I -.il in.
I hi- Coty benefit is partly due to "Theo-
broma." Eight drops of tlii- -oftening ingre-
dient go into ever) "Sob-Deb" Lip-tick. In
H mm fj-hioii-i-ltiiig -hade-, a Of1.
, .N<ii— •* lir-s/<iKi" Rouge
Because ii i- a. iu.iIN blended h> air. it has
a new exquisite imoothneu,
gln\> fag color-. Shade! match
the lip-lick ...50?.
SUB DEB
PSTICK
50*
i j
- ight drop* of ~Th*obroma" /ro into ivery mSmUffA 1 tp
• ink, Thnl't Jinu Coty guard* ugtiinit tipmtirk i-tr.htn*
aivt 1'nnl .i way of saying it thai
will in >t antagonize people. If sin
decided t" when she feels like
n. -he il always in danger of having her
name bruited about carelessly, until
day she sees her name in head-
I HE bit player who wants to become
a star some day has one of the tough-
ex problems in all of Hollywood.
Even if she offends some man who
won't take "no" for an answer, the fea-
tured player can always hope that she's
n mile enough of an impression in Holly-
wood so that her fans will write to the
studio asking when she's going to ap-
pear in another picture. The bit player,
who may earn as little as $35 or $50
a week, has two terrific problems.
First, on her salary, how is she going
to be able to dress well enough so that
she'll look beautiful and attractive in
her clothes? Secondly, if some im-
portant director does make advances
and she turns him down, what is to pre-
vent him from seeing that she isn't
called for another picture? She's so un-
important, comparatively speaking, that
the chances are if she doesn't make a
picture for years no one will notice her
absence. At the same time, if she makes
a hit with the director, the cameramen
and the lighting experts, they can di-
rect her and photograph her in such a
way that she'll stand out. Her problem
is even worse than that of the extra,
because most of the extras in Holly-
wood realize that the chances of their
ever getting anywhere are pretty slight,
so they haven't as much to lose by say-
ing "no."
Bit players and other girls earning
between $35 and $50 a week usually
share an apartment in an apartment
house with another girl, paying $50 to
$75 a month for the apartment. Very
often these apartments come complete-
ly furnished. Most likely, the girls who
pay $50 a month for rent live in an
apartment house where there is no
switchboard.
Living with another girl is a great
convenience when you have to turn
down a too- importunate suitor. If you
live with another girl and the boy
friend becomes a little too ardent, it is
always possible to say, "Sh, you'll wake
up So and So." Also, you have a grand
excuse for saying good-by to him at
the door if you wish to. You can't dis-
turb your roommate who is sleeping,
but you're terribly sorry about it. Some
other night, perhaps.
I HE Hollywood extra girl is a kind of
law to herself. The chances of an extra's
becoming a star today are almost in-
finitesimal, so there is really no good
reason why the Hollywood extra should
have to worry about whether or not she
•nakes a hit with someone influential.
There are more than 10.000 extras in
Hollywood earning from $7.50 to $35 a
day. depending upon whether they are
just plain extras, dress extras, or have
lines to speak. The competition between
tin in for even a single day's extra work
is very keen. As extras have little to do
with a picture except to be there and
occasionally to speak a few lines, the
method of selecting them from among
all the girls registered at Central Cast-
ing is rather haphazard and studio poli-
tics, family and personal influence often
enter into it. The extra finds it wise to
keep on good terms with as many as-
t directors, cameramen and elec-
tricians as possible. One of her great-
. i problems is to keep these men
(Continued from page 20'
friendly to her without granting favors
that would compromise her. Generally
she gravitates into having dates almost
exclusively with men in pictures who
have executive or advisory supervision
of the extras.
The extra generally lives either at
the Studio Club, an organization run for
girls connected with the motion-picture
industry, where she can get a room and
two meals a day for as little as $8 a
week or a room with bath for $13 a
week, or else lives in a $40 a month
bungalow court apartment, sharing its
two rooms with one or two other girls.
Unable to afford even a secondhand car
unless she is exceptionally successful,
she travels to work by street car or bus.
Usually the clothes she wears are so
stunning you would imagine that no
girl earning less than $200 a week could
afford to buy them.
I asked a Hollywood girl how the ex-
tras in Hollywood manage to look so
well-dressed, since it is an exceptional
extra who averages as much as $50 a
week during the course of the year.
She shrugged her shoulders. "What
do you think?" she said.
Her implication is obvious. However,
this isn't always true. Many of the ex-
tras in Hollywood have an uncanny
clothes sense and know how to pick up
marvelous buys at sales.
I HE girls who have technical positions
in Hollywood as writers, designers,
decorators, publicists and secretaries do
not have to worry as much as the ex-
tras or bit players about not getting
ahead because they've said "no" to the
big boss. While there are some men in
Hollywood, just as there are men every-
where in the world, who have made
improper advances to their secretaries,
they are the exceptions. The average
secretary in Hollywood makes from $25
to $50 a week; the average publicist
from $50 up a week to a salary in four
figures (if she ever becomes tops,
which few women do, as the executive
positions in this field are held mostly
by men) ; the head of a research bureau
at one of the studios earns about $100 a
week. None of these girls has to mix
sex with business unless she wishes to.
They live on about the same scale as
other girls in Hollywood who act in
pictures, except that they don't spend
quite as large a proportion of their
earnings on clothes. However, the secre-
tary in Hollywood spends more on
clothes than the average girl in other
towns. If she earns $50 a week, she
may spend $25 for a dress, $10 for a
hat. $10 for shoes, $10 for a bag.
When she goes out in the evening,
her dinner dates are often Dutch-treat,
although she may be very attractive,
and would, anywhere else but in Holly-
wood, be the most popular girl in town.
She has a variety of sex problems,
ranging from the simple problem of
what to do when her date wants to
come inside her apartment and spend
the night there to dramatic problems
involving men who may drug her
drinks, suggest assignations at their
apartments, and eligible men whom she
might be interested in marrying, ex-
cept for the fact that they are definitely
not the marrying kind.
In Hollywood there is an amazingly
large number of people on the fringe of
the motion-picture industry. They are
usually the hangers-on, the girls who
originally came to Hollywood to get
into the movies and gradually drifted
into jobs as hostesses, professional es-
corts, guides and companions.
The escort business is a thriving
Hollywood business. Very often men
from the East who know no one on the
Coast come to Hollywood and telephone
an Escort Service to hire a feminine
companion for the afternoon or evening.
Obviously, a girl who accepts a posi-
tion like this has a rather dubious
status, and many of the men who take
her out will feel that they are paying
for more than just her companionship.
If she doesn't want to accept familiari-
ties, she must be very tactful, for the
tips she receives depend on her keep-
ing the good will of the men who es-
cort her.
ANOTHER job which the hangers-on
who don't want to go home sometimes
get is as "Sitter and Listener," a unique
service which Hollywood's fertile
imagination originated. In Hollywood
there are a great many invalids who
have come to California in order to
enjoy a balmy climate and these in-
valids often get lonely. Providing con-
stant companionship for them is often
a strain on their families. That's where
the "Sitter and Listener" comes in. She
is paid $3 an hour, of which she keeps
$2 and gives her bureau $1. Her duties
are to entertain the patient for a stated
number of hours.
Since the "Sitter" or "Listener" is
much more apt to be a plain Jane than
the girl who works for an escort serv-
ice and since the invalids get a great
deal more fun out of harping on their
troubles than talking about love, her
sex problem is much less acute than
that of the girl who works for an escort
bureau. In fact, her only sex problem
may be that she has none!
One thing which almost all visitors to
Hollywood notice is the startling beauty
of girls who do all sorts of work from
manicuring nails to waiting on cus-
tomers at drive-in hamburger stands.
Often the answer is that these girls
came from small towns, where they
were told by all their friends that they
"ought to be in pictures." Coming out to
Hollywood, they found that they could
not crash the union barriers at the Cen-
tral Casting Office and finally took the
first job that came along.
Girls in this category have much the
same problems that any girl earning
$15 a week in any town would have.
She cannot afford to buy herself pretty
clothes; she lives in a $5 a week room,
which she shares with another girl. Her
greatest pleasure is lolling on one of the
many near-by beaches. Like all the
other girls in Hollywood, this type soon
learns that the town is no happy hunt-
ing ground for a girl in search of a
husband.
Shopgirls in Hollywood face many of
the same problems they do in other
towns, except that it is harder for them
to get married in Hollywood and in-
finitely harder to stay married.
There are many girls on their own in
Hollywood — more than in any other
town in the world. Many of them have
come to Hollywood because they think
it is the land of romance, the land
where dreams come true. Often they
have saved up their money for years
in order to come to this town, where
they believe the cream of the world's
eligible men can be found. After they
have been in Hollywood a few years,
they usually start saving their money
desperately to get away.
There are many girls on their own
in Hollywood — but not very many of
them like it. Most of them would in-
finitely rather be happily married.
80
PHOTOPLAY
Photoplay's Own Beauty Shop
(Continued from paje 8)
nd add so much to the charm of her
ew coiffure.
A BRAND-NEW FACE— By this time,
owever, you must have definitely de-
ded whether or not you can wear your
air up high on your head. Everyone,
E course, tried it at first, but there's no
enying that some of us can't get away
ith it. Even if you're still wearing
aur hair in a long bob, you've drawn
back off your face anyhow to give
3U the new barefaced look. But you've
robably come to the same sad realiza-
on that's hit all of us, whether hair
up or down: that you have a great
;al of face and it looks quite undressed
ithout that flattering frame of hair
•ound it.
You've found you have a whole new
ake-up problem. With your hair high
i your head or drawn off your face,
sur eyes are now more arresting than
rer before. If your forehead is high
• wide, your face is liable to look
ightly top-heavy.
Raising your eyebrows makes your
res seem larger and more dramatic,
it your brows must still look natural.
thin penciled line has a tendency to
ake your face look like an egg with
atures drawn on it, so keep the brows
;avy enough to add character and
■ama to your face. Pull out the hairs
iderneath — never touch those on top.
Instead of using an eyebrow pencil,
y brushing mascara lightly on the top
irve of your brows and on the fine
int hairs that grow just above this,
i this way you can afford to leave
ist a narrow line of your brows and
ill out all the others. Be moderate
i this, though, as in everything else,
;cause if your brows are too high you
ok like a perpetual question mark.
0 prove again that beauty is a per-
stual care and that you can't let
>wn for even a day, be sure to keep
)ur brows plucked and clean, because
lere's nothing more unattractive than
girl whose brows are growing in un-
dily with stray little hairs under-
2ath. Use one of the little magnifying
lirrors so you don't miss a single hair,
at on antiseptic so your lids won't
nart and smooth cream into your lids
i keep them soft and discourage dry-
sss or tiny lines.
Instead of using an eye shadow in the
aytime, try patting a tiny bit of vase-
tie or cream over your lids to give
lem a luminous transparent look. It
ill make you look young and dewy,
k>. To keep that young look, apply
Dur make-up with a very light, deb-
ute hand. You have to blend your
)uge carefully and be sure to carry it
lit lightly almost to your ears. It's
ital to be absent-minded when you're
laking up your face. You're liable to
rouge just the front part of your cheeks
and completely forget the rest.
Remember, too, that your neck has
also joined the great open spaces. With
your hair off the back of your neck,
your nape will be nice and soft and
white because it hasn't been exposed to
the weather, but your throat is prob-
ably somewhat darker. Obviously,
something has to be done. Use soften-
ing and bleaching creams on your
throat and blend your powder down
over your chin. Be sure that your en-
tire neck and face are exactly the same
color. Try a liquid powder foundation
on your neck to give it a smooth even
look. Make up the back of your neck
with the same care that you do your
face and throat. Just because you can't
see it doesn't mean that no one else
can.
TRAVEL TIP— If you're planning to
go away for the week end or on a cruise
or just to visit your cousin in a near-by
city, I've gathered some marvelous tips
for your from Priscilla Lane on the set
of "Yes, My Darling Daughter." Pris-
cilla and Rosemary traveled for five
years with Fred Waring's orchestra and
learned all the tricks of the beauty-
bound. Their perfume bottles never
spill over and they don't find powder
sprinkled all over their clothes when
they unpack their bags.
"I learned by sad experience never
to carry full bottles of astringent or
hand lotion during cold weather,"
laughed Priscilla, "because I did it
once and all the liquids froze and ex-
panded and broke the bottles. My
clothes were a wreck. Now I pack only
bottles that are half-full.
"If you carry powder in adjustable
shakers, you won't spill it. Use a com-
plexion brush instead of a wash cloth
because you can wipe it dry before re-
packing it."
For a short trip, Priscilla buys her
cosmetics in the dime -store size instead
of taking her regular large-size jars
that take up so much room in her bag.
She carries either collapsible tooth-
brushes or cheap ones which can be
thrown away.
"If you stick to one brand and color
of nail polish when traveling, then you
can give yourself a quick patch job
without any difficulty. And the easiest
things in the world to forget are cotton,
cleansing tissue and an antiseptic white
lipstick for dry lips, so you'd better
make a mental note to be sure and re-
member them."
Priscilla's last tip is to wear a ban-
danna tied Mammy-fashion over your
hair at night to protect it from dust
and help preserve the wave while
you're traveling. A hairbrush will help
to keep your hair clean.
So have fun on your trip!
vlartha Raye and her husband of four months, Dave Rose. She prefers her hair-
Jo half up, half down, which is the choice of many of the glamour gals now
en f/j/t-f ■/'///■ /rf //f/ s /'Sj' . . .
tv^evlon is mr favorite nail enamel because it wears so well and stays lustrous
so long," says Elizabeth Gibbons, strikingly attractive photographic model. "It comes
in shades that are definitely exclusive — just like the originals of famous French
dressmakers! You can't find such colors anywhere else. Revlon goes on so easiK
and never streaks. Its rich quality texture makes nails perfectly beautiful. Since I've
been using Revlon, my nails have been on their best behavior!. ..Revlon is the only
nail enamel in the world for me!" <" Miss Gibbons' sentiments are universal. More
fine beauty salons throughout the world prefer Revlon Nail Enamel over any other
nail polish because it stays on so beautifully between manicures and creates stead\-
manicure customers. An outstanding example is Ivan, Fifth Avenue Hair St\li-t. l li"
has dressed many of the crowned feminine heads of Europe. ♦ Society leaders and
celebrities from the four corners of the earth come t<> [van's Ne» Ymk salon for expert
beauty care. Here Revlon is used always, because it meets Ivan's exacting <|iialii\
and fashion standards as though made to his order!-^ \ml -• Kc\l"ii i- fashion's
favorite Nail Enamel the world over... You will prefer it. too. Like Miss Gibbons,
you'll find it best. Be>t for looks, best for wear, best for the nails! Featured in lead-
ing department stores and in quality beauty salons. O New! Revlon 's Jl I I I
Rich vintage color, flattering as jewels to the nails. Three tones: IUBLTONB-1, light
and delicate; jL'ELTONE-2, medium, more intense; Jl'ELTONE-3. dark and dmntling.
tSftfil t_sf/ii ' At last: A normalizing nail treatment developed by
Revlon to help keep nails strong, flexible, given with Laclol,a creamy emulsion,
thermostatically heated . Ask your Beauty Salon for this Lactol treatment manicure.
Sner/f'ji <_ylffr'/r(' n&tne/ ^Frv^r/vr/^ //
/J^OWESTj^OTH ST. ' NEW YORK • 4 Q J SPARKS ST.' OTTA HA
:EBRU ARY, 1939
81
Love Finds a Dizzy Blonde
■* tathorities appar-
ent)) agree that ki->in{_'.
en the lip-. a> a >i;:n of
iff© lion, did not begin
uniil after Cleopatra's
time. She died in 30 B.G
ami the custom teems to
have been established
well after her da] .
< leopatra had one other misfortune, too.
She used -kin lotions, hut <li<l not have
the famous Skin Softener — Italian Balm,
flei lotion- were mixed, undoubtedly,
With "a little; of tlii- ami too mm li of that"
— hut today, no guesswork i- permitted in
making Italian Balm for milady's -kin.
Here is a identifically made skin-softening
beautj aid thai trill help to keep your skin
-mooilnr ami -oiiir — fresher-feeling, more
kissable and thrilling to tin- i h.
In Italian Balm >oii get not only a skill
protection against chapping ami >kin dry-
Ion gel also the costliest ingredients
used in am oi tin- largest selling lotion —
jret tin- econonrj oi using Italian I!. :1m is a
national by- Word. A drop is sufficient lor
both hand — because Italian Balm is rich, full-
bodied and i on entrated; not thin or wat* . . .
You'll love it-> clean, fresh fragrance, too.
i ii I I: I l . Send i oupon below.
Italian Balm
Made horn a Secret Formula — by on Exclunvt Proceu
&
C wii'w \ S \i i - i ci\ir\M
Ml I In..,. BWrW, lll.n.,1.
n tried li.lt. in
It, In, PImm -mI in. VAltm lt..||!r
I III I. .hi |»i-i|.,i I
\nmr
l-/</'fii
Sla««-
h i j-jj 1. 1 j* w ). LU t~*u OMaba i
ryone who i~- at all interested imist
nili.ii. by now. with the almost
unbelievable record of Marie Wilson's
sixteen-year-old, one-girl assault on
Hollywood. The small legacy she used
to take her out of Anaheim. California,
and set her up in what sin Imped to be
impressive opulence. The bin car, the
mink coat — they wcie pari "I it. So
the hilltop house. Only Nick
Grinde wasn't. He was the only thing
real Maybe that's why Marie fell in
love with him.
Because, after the girl-meets-older-
man-next-door episode in the middle of
the street, Marie set out deliberately to
make the bachelor director like her. It
didn't look like an easy job.
For one thing, Nick was frightened by
Marie's family. He felt, because of his
age. they must regard him with a hostile
eye for taking out their seventeen-year-
old daughter. Marie's folks are fairly
serious people, too, and Nick's natural
wit fell on barren ground. They didn't
understand each other.
So, in spite of the fact that he was
actually welcome, Nick steered away
from the Wilsons'.
Marie and Nick had their dates mostly
in Nick's house, under the disapproving
but effectual chaperonage of Ching, his
Chinese manservant. Ching's resent-
ment of what he considered a conniving
young hussy's hold on his master's af-
fections smoldered in his bosom until he
bordered on violence and Nick had to
let his trusted manservant go.
They saw each other two or three
times a week — Nick and Marie. After
dinner, Marie would stroll across her
yard and ring his doorbell, get glowered
at soundly by Ching and walk in, to
spend the evening with Nick, talking
over her life and her dreams, listening
for other hours to his interesting tales.
She had other dates, of course. The
young bloods of Hollywood flocked
around. Jackie Coogan, the Stroud
twins, Johnny Newell, Tommy Lee — a
lot of them. They called her "Exotica"
which pleased Marie.
When Marie told Nick about this, he
roared with laughter. Nick laughed at
most everything Marie told him.
He saw her for the ga-ga kid she was.
And he was amused. The act was funny
enough to him but the ambitions of
Marie to become a great actress were
even funnier.
Consequently, the director — screen-
ambitious girl setup of their relation-
ship which might have proved awkward
and fatal to their romance never in-
truded. Because he considered the
whole thing a young girl's glamorous
hallucination from which she was bound
to recover sooner or later, Nick never
his studio connections to force a
break for Marie. In all the years of
their friendship, all he did was to call
Ben Piazza once, at Marie's request, and
identify her so Piazza would see her,
and incidentally, so Nick hoped, give
her some good advice.
Ben Piazza gave Marie the good ad-
He said she had a nice figure and
■ -ting eyes, but he didn't see any
talent written conspicuously in anything
she did. She talked wrong, walked
wrong, and her personality, he hinted,
would be much more effective in Ana-
heim than in Hollywood.
But Richard Wallace, a director at
Paramount, whom she managed (o see
by herself, was a little more helpful.
He told Marie she would have to give
up the idea of getting in pictures right
away. She'd h ive to study first, make
i < 'onto. mi/ from pope Zl)
I .,11 over Then, he allowed, she
might make the grade.
Marie went right to dramatic Coach
S.uiilv Saunders and started the remod-
eling It v.., a year and a half before
she got even an extra job. Mrs. Saun-
look her for nothing when she
didn't have the money to pay. for which
Marie will always be grateful.
HER ambitions and her serious cam-
paigning, however, she kept apart from
Nick Grinde. She knew he wouldn't
take her seriously. She shrank, with a
woman's intuition, from mixing busi-
ness with love, which is more than a lot
of smart Hollywood beginners have had
the sense to do.
Marie concentrated on making Nick
like to have her around. She tried to
make him comfortable. She tried to be
so nice and quiet. She filled his pipe,
listened to his stories. If the radio was
too loud or too low she'd run over and
fix it. Only more often than not she'd
trip over a lamp cord on the way. The
studio people were right. Marie had no
more poise than a June bug. And that
complicated things.
Because as Nick Grinde began to find
in the little girl next door something
that he missed when she wasn't around,
he started to take her to the homes of
his friends, and he had some very well-
traveled, smooth-mannered friends who
lived in exquisitely appointed homes.
Marie always managed to do something
wrong.
Marie will probably never forget the
evening Nick took her to a quiet cock-
tail gathering at the house of one of his
good friends. They sat before a coffee
table bedecked with costly crystal
glasses. "For Heaven's sake," she cried
in mock terror, "don't let me touch
them. I break everything I see." Where-
upon she accidentally gave a ZaSu
Pitts-like sweep of her arms and pro-
ceeded to send the whole set crashing
in little pieces on the floor!
And when she wasn't doing the wrong
things she was saying them. One of
her typical blunders lost a friend of
Nick's his job. The friend, an assistant
director, was flashing around the studio
pass of a major lot's executive head,
kidding lightly about his own status as a
big shot. After he had gone, Marie
found the pass where he had dropped it
on the floor. Without stopping to think,
she telephoned the office of the studio
head and asked if she should send it
over, explaining the details. The exec-
utive, outraged that someone should be
flashing his pass, called the offender in
and promptly sacked him.
"I don't know why Nick ever put up
with me,'' Marie wonders today, "unless
he was just fascinated — trying to guess
what I'd do next!"
The answer, of course, is that Nick
Grinde was in love with her. There was
something about the wistful sweetness
of Marie, doing the wrong things at the
right time, believing in phony fairy
tales and telling him about them that
got Nick. Behind her ingenuous stare
he saw the right stuff.
As for Marie, her friendship with Nick
developed into love after a few fever-
ish dates on the side with youthful cleft
chins and wavy heads with which
Hollywood is well supplied. And so,
after a year or two, when Nick saw
thai Marie was actually in earnest about
the acting business, he began to en-
courage her. Marie talked over every
tiny thing that happened to her at the
studios: Nick gave her good advice.
It was the Packard, though, that real-
ly gave Marie the chance that was to
lead, eventually, to Warners and her big
chance on the screen.
The Packard ran out of gas one day
and Marie, wearying of looking helpless,
Started to push it A newspaper writer
saw her and helped. He liked her and
introduced her to an influential studio
friend.
Marie wrote the script for her own
test — a comic skit of her own experi-
ences trying to get a job in the movies.
The test, made at Metro-Goldwyn-
Mayer, brought nothing and was kicked
around Hollywood for a year or so.
One day, by mistake, Jack Warner and
Hal Wallis got into the wrong projec-
tion room.
Somebody was running off Marie's
test. Warner and Wallis stayed in the
wrong room.
When they left, Marie had a contract
on the way.
Marie Wilson's rise as a first-rank
comedy star has had little effect on her
romance with Nick Grinde, except to
bring it closer to consummation. Al-
though they were both at Warners for
some time, both refused to mix busi-
ness with pleasure and work on the
same set.
The one time they did, in "Public
Wedding," a director took sick and Nick
was put on the picture.
Then an actress took sick during the
picture and Marie was put in it. So
there was no way out.
IN spite of the success that seems as-
sured Marie Wilson since "Boy Meets
Girl," she is still giving no definite date
for her marriage to Nick Grinde. Al-
though she hopes to be married early
this winter, there remain some family
complications.
Also Marie is keeping her fingers
crossed about her career. It has all
happened so suddenly that she's wary
of its permanence. That fatal finger on
her left hand is still without an en-
gagement ring.
"Rings are so expensive," explains
Marie.
The official seal of a formal engage-
ment would mean little indeed, how-
ever, to Nick and Marie. She has de-
pended on her mature boy friend long
before this for advice on everything.
He even bought her a new, and this
time, modest little automobile, because,
as he explained, he was tired of looking
at the old Packard out in front. It was
beginning to tear down property values.
And when Marie took the new auto-
mobile out and promptly got mixed up
in one of the most serious traffic acci-
dents in Hollywood, Nick took up the
legal details of the mess, got her a new
car out of it and generally acted like
a dependable fiance should. Which
included, of course, daily visits to the
hospital where Marie lay for nine
weeks with a very good chance of not
coming out.
The smashup had driven what the
newspapers referred to as a "hair orna-
ment" about an inch into her skull and
uncomfortably close to the brain. Only
it was no hair ornament, Marie con-
fessed, but a screw from the car's top,
or somewhere.
"With a screw loose in my head,"
grins Marie, "how can you expect me j
to be sane?"
The point is, no one does — including
Nick. That's why they're so happy.
82
PHOTOPLAY
Close Up of the Groaner
(Continued from page 23)
HOLLYWOOD'S LATEST RELEASE
HIT OF THE MONTH
This should put guest stars at ease on
his programs, but a few of them have
blown higher than a kite just thinking
sf the contrast between Crosby and
themselves.
There is a belief that the day Crosby
learns he is washed up in radio and pic-
tures he will say. "Oh," and go home
ind eat.
IIS home life is a pleasant turmoil of
lomesticity. Fresh from his crooning,
le will be confronted at the door with a
•eport of his four sons' wrongdoings. He
nay spank one. put two to bed and for-
jid the fourth to play "'Snow White"'
■ecords on the phonograph. Sometimes,
it the height of a feud, the boys must
>e fed in separate rooms. There is al-
vays noise and a visitor finds himself
nvoluntarily ducking.
Gary, the eldest son, is almost as
leep-voiced as his father and considers
limself a man. If permitted, he would
Tile the brood with an iron hand — the
ame iron hand that has left its mark on
urniture and walls alike without par-
iality. Gary has a girl but remains dis-
:reetly silent about her unless giddy
vith coca-cola.
During the filming of "Sing, You Sin-
lers" the boys were brought to visit
heir father on location. They sat in a
ow, respectful and quiet, watching
(reparations for a scene. Then Bing
tarted acting. Gary jumped to his feet
md poked the twins. "Hey." he said
lerisively, '"look at the old man!"'
The shocked nurse elbowed Gary into
i sitting position. "Don't talk like that,"'
he admonished sharply.
"Aw." said Gary, "he knows he's no
;ood."
lONSIDERATE to a fault sometimes,
!he Groaner has drastic reversals. He
tas let a production unit twiddle its
humbs while he watched a horse race,
le has refused to work unless an un-
mployed property boy is hired. He
irould not start a picture unless a cer-
ain cameraman was used. The result
k'as that the gratified individual lighted
Jing so brilliantly in scenes that he
tood out like a well-polished loving
up.
I have seen his patience tried. He is
iroud of his ranch home near Del Mar
rid the interior is spotless. There were
everal of us warming ourselves over a
>ottle after a pack trip into the moun-
ains and finally one of the men aimed a
lunting knife at the living room door.
Ihe knife glanced and knocked a large
hip from the painted surface. Then
omebody else picked up the knife and
hrew it at the door. That was the start
f a contest. Bing sat watching, quietly.
Ifter a while he went outside and I
followed.
"'That's a lousy trick in there," I said.
"They're just having fun," said Bing.
'It's nice of you to take it this way,"
I said. '"If it were my house, I'd be
sore."
"I am sore," said Bing.
"Then why don't you do something?"
"They're just having fun."
We went inside. The door was a mess
and they were still throwing. Bing
picked up the knife and held it a mo-
ment, and I was waiting. Then he threw
the knife and it lodged in the door.
"That's the way to do it,"' he said.
Bing's Toluca Lake house is a spa-
cious colonial affair, the second he has
built in the district. Before the first
house was built, he bought the available
land surrounding it. Soon he sold both
the land and the house and bought more
property near by. If the profit from the
land didn't pay for both houses, I'll eat
one of his Hawaiian shirts.
He is incorporated for radio, pic-
tures, phonograph records, race track
activities and several lesser ventures.
He is on the board of directors of many
strange things, including an eating club.
The incorporation employs two of his
brothers and his father. I once worked
for the outfit as a radio writer, receiving
my contract from one brother, my
checks from the other and an auto-
graphed picture of Bing from his pa.
"Did you ever think Bing would
amount to anything?" I asked the
father.
B," he said, '"he was all right."
Bing's mother is solid American. She
doesn't like to see Bing drink in a pic-
ture but she lives in her own house with
the father where she won't interfere
with anything. She goes to Bing's race
track with her husband, and they sit in
Bing's box, studying their form sheets.
They look at the tips from Bing's stable
and usually discard them. Then they
discuss the merits of all horses. Finally
the mother says she will split a two-
dollar bet with the father. He talks
about horses some more and goes to
make the bet. It is too late.
Bing's wife. Dixie, picks her friends
and sticks with them. Most of them are
holdovers from the early days and Hol-
lywood doesn't know them. That's all
right with her, and it's all right with
the friends.
But what I started to say is that Bing
as an actor didn't interest me until I
realized that off the screen, basically, hs
is the small-town boy who loves the full
life and hates work and all its routine
and will never- -let him live three hun-
dred years — amount to a row of bad
peas.
It is not my fault that even God
sometimes is guilty of miscasting.
HOW WELL DO YOU KNOW YOUR HOLLYWOOD?
Check your answers to the statements
on page 70 with these correct ones:
1. Nelson Eddy
2. Marlene Dietrich
3. C. Aubrey Smith
4. Mary Brian
5. Dorothy Lamour
6. Spencer Tracy
7. Nancy Carroll
10.
I I.
:.
The assistant to the 1 3.
head electrician on 14.
the set
To plug the sound 1 5.
equipment to the 16.
camera 17.
Mary Astor 18.
Texas 19.
Michael Whalen 20.
:-'
Boris Karloff
"The Count
Monte Cristo"
Bette Davis
Ginger Rogers
Proper breathing
John Barrymore
Phil Regan
John Trent
• 'Lurnberjcck. the February
Blouse Hit, it made of
bark, a >il» and spun rayon
fabric in rough novelty weave,
which lends irtetf beautifully to
the joftfy tailored treatment. In
White. Chartreuse. Rote. Bird
Blue, and Fuschia. with con-
-g chiffon handkerchief.
• STUDIO BLOUSES, INC.. 525 SEVENTH AVE.. NEW YORK CITY. N. Y.
DON'T LET
JANGLED NERVES
Wreck Your Life
Bernarr Macfadden's new book, More
Power to Your Nerves, contains defi-
nite, practical help for those suffering
from nervous disorders. Page after
page of this remarkable book is de-
voted to actual case-histories taken
from the files of various Macfadden
health resorts. These case-histories give
you the symptoms and the de-
treatments employed in these nerve
cases. Here you get not theory — not
experimentation — but the last word in
modernized physical and mental hy-
e for nervous sufferers.
Here in 246 pages of intensively inter-
esting reading you discover how you
can gain complete control over your
nervous system. How you can z
fear, worry, anxiety. How you can
mend your shattered nerves and once
again enjoy the thrill of living.
More Power to Your Nerves se
only $2.00. And if you are not satisfied
with the book, merely return it within
5 days and we will refund your $2.00.
Send for your copy today.
MACFADDEN BOOK CO.
Dept. P-2
205 East 42nd St., New York, N. Y.
• It'* 3 romantic year for hat?,
hair and eyes! So curl your Isabel
demurely, for that sweet old-fa-h-
ioned effect. Kirumi requires
only a few second?, i? effective f'>r
hour? ... an ea-y. mechanical
beautv-routine. And it"? \our- fur
only $L
Vith your Ki'hla-h. u-e it?
companion piece, Ki M i •
scientific cream that keepi Isabel
silk.--(ift. ea-icr la • url. ' Adds a
devs> lu-lre to eydida too! i Try
Kirumi ami KiKitvt together
- — your tv»in ej i-l>«aut> ai'l-!
I HI t — ...i,, t„ M.k-lplhiri: Writ.
Jane Heath, Drpl. \-2. «.ne color of
bair and err*.
K U R L A S H
THE KURIASH COMPANY. INC.
Rochester, N. Y. Conoda, Toronto, 3
The Only Complete Eye-Beauty Line
r*n 1 1 ■/■ leil C*.. /«t
BRU ARY. I 939
11
BEST DRESSED
WOMAN
Boos and Bouquets
THE finest fashions of Fifth Avenue
are yours, perfectly fitted ... at a
mere fraction of the cost of the origi-
nal models. Our Magazine ofFashion
for Spring makes this possible, and
affords you a larger, more exclusive
selection than you will find in any
one shop.
OUR CUSTOM-CUT CLOTHES FIT PERFECTLY I
■ The secret isour'Tinish-at-Home" Plan!
Each frock you order is cut to your own,
int/ii itlual measurements, assuring you of
perfect fit. Then every bit of difficult sewing
is finished by our expert men-tailors, leav-
ing only a few simple seams for you to sew.
We furnish all trimmings and "findings".
It's so easy to complete one of these frocks,
and it's wonderful to know that what you
will pay for another, just as chic!
ACCESSORIES TO COMPLETE THE PICTURE
■ You Oil select your entire Spring ward-
robe from our M\c\/im Ol FASHION 1 In-
cluded are comf)/ete/)-min/e\i';\r(\mhe Ac-
cessories, whiCB We bar* assembled from
the Season's best styles, and priced far be-
low their Paris and 1 lfth Avenue originals.
■ \ls<> included arc exclusive new crea-
tions by that famous American designer,
fUl ITV \V»i I s. |f iou want sophis-
ticated smartness, direct from
Fifth Avenue... send today for our
MaGAZM 01 I \siiion ...It's FREE!
Wt HAVI A CONVINIENT BUDGET PLAN
FIFTH AVENUE MODES, Inc.
■I Fifth Avenue. Dcpt. 50. Niw York, N. Y
SrmJmr, FREE, yourSpring"M aca:ine or Fashion"
Nime.
Address —
Sutc ....
MOULDING MYRNA
I NEVER thought I would be writing
adverse criticism about Myrna Loy —
but here goes!
is ago I wondered when the movie
moguls would recognize the ability of
lovely, girlish, unaffected Myrna. When
■he was finally starred I was amazed to
tier cast as a sophisticated and
rather blase type. In grooming her for
the parts, the studio must have given
her an icy veneer.
In "Too Hot to Handle," Myrna wasn't
even slightly lukewarm. In one se-
quence, she says "how terrible" and
shortly afterwards she says "how won-
derful." There was absolutely no change
of voice. Her voice rang with insin-
cerity and artificiality. Her emotion
seems to be limited to occasional gasps
of "oh" plus a slightly startled look. I'm
sorry Myrna has fallen off her pedestal.
I don't think she is entirely at fault. The
studio made a mould and poured Myrna
in and it just didn't turn out the Myrna
it should.
Mrs. McBride Dabbs,
Mayesville, South Carolina.
HET-UP OVER HEDY
FTER reading Margaret Lemworth's
comments on Hedy Lamarr in the "Boos
and Bouquets" section of January
Photoplay. I, for one, am rushing to the
aid of the beautiful and gifted Viennese.
I can't understand how anyone who
saw her performance in "Algiers" could
possibly doubt that Miss Lamarr has
definite talent in addition to being di-
(Continued from page 4)
vinely photogenic.
The trouble with most of the people
who make up American movie audi-
ences is that when they see a truly
great actress they can't appreciate her.
They are so used to the overacting of
Hollywood's favorite glamour girls that
when a performance, notable for its re-
straint and subtlety, hits the screen, it
Isn't even recognized as acting.
Hedy, the woman, is a "joy for ever";
Hedy, the actress, is superb. My only
worry is that Hollywood may doom her
to "clothes-horse" roles and not give
her another chance to "shine" the way
she did in "Algiers." But don't blame
that on Hedy, please!
Holly Birmingham,
Rochester, New York.
HISS. HISS. HOORAY!
I HE "terrible-tempered Mr. Bang" has
nothing on me when it comes to those
pests who go to the movies for a gab
fest. For a number of years I would
move quietly to another seat when I
was annoyed. At times I have called
an usher and in my best Emily Post
manner asked him to speak to those
who were causing the disturbance. Oh,
yes, I've been called an old crab and
taken further insult for daring to re-
port them. I've tried giving dirty looks,
too, and while that may silence them
for a few minutes, it seems it takes
more than a dirty look to shut them up
completely.
At last I've struck the perfect solu-
tion. I cast decorum to the wind,
turn around and give a loud, hissing
SH-U-S-S-S-H. Ill admit I've caused
a disturbance myself, but those who
have been carrying on the conversation
are usually so embarrassed they remain
quiet for the balance of the perform-
ance.
Francine Larki.v,
Dallas, Texas.
TOO HOT TO HANDLE
As LONG as you invite both criticism
and praise, I will send a little of the
former and be relieved to let off a little
steam in this innocuous way. I re-
cently saw "Too Hot to Handle" and
came away dazed and full of questions
I wanted answered. In the first place,
I dislike those sophisticated and smart-
alecky names which have nothing to do
with the content of the picture. Then
it was like a four or five-ringed circus
with so much going on in so many quar-
ters of the globe, and such a display of
bombing in one hemisphere and native
negro dances in the other, with so little
continuity to link up the divergence,
that it left the beholder, at least this
one, worried. Besides it seemed to me
terribly poor taste to make a laughing
matter out of such stark tragedy as the
bombing of the poor Chinese. The hero
and heroine seemed to be falling out
for unknown reasons and making up
for equally dim ones, while the protag-
onist and the antagonist seemed hating
each other, and then going around in
bosom-friend manner — the whole thing
was a jumble.
Mrs. Herbert Gardner,
St. Petersburg, Florida.
Close Ups and Long Shots
Brothers, for whom he is executive pro-
ducer . . . yet, in the last year, his pro-
ductions of "Robin Hood," "Jezebel,"
"The Sisters," "Brother Rat" and "Four
Daughters" have been so outstanding
that the Warners, and particularly Jack
Warner, who is his immediate boss, have
been only too glad to let the spotlight
of fame fall upon him. . . .
Wallis looked around for an opening
in the studios . . . any studio . . . but
the only chance he saw that he could
get was a berth in the publicity depart-
ment at Warners . . . now for an unbe-
lievable number of intelligent and
talented men a studio publicity depart-
ment has proved a dead-end street . . .
but not for Wallis. . . .
The bright particular genius of War-
ner Brothers at that time was Darryl
Zanuck and the crown prince of the
family was Mervyn LeRoy, who was
their chief director . . . Warners began
putting out their series of 'hard-hitting,
hard-biting pictures of the seamy side
of American life . . . and they made
millions . . . when Darryl Zanuck left
to found his own organization Holly-
wood speculated as to how the Warners
would get along without him . . . they
tfot along fine, thanks to their wisdom
for appointing Wallis to fill the vacancy
he had left. . . .
In fact, they got along better than
fine, for while Wallis started out by
producing "Little Caesar," a thriller in
the typical Warner manner, made after
the Warner method with an inexpensive
( Continued from page 10)
cast in an impossibly short length of
time, he also persuaded the Brothers
that you could go, successfully, in an-
other direction, too . . . for he it was
who persuaded them to let him produce
"The Story of Louis Pasteur" and later,
"The Life of Emile Zola" and certainly
"Robin Hood" and "Four Daughters"
are an entirely new type of thing for
Warners to be sponsoring . . . and mak-
ing a fortune thereby. . . .
IET, for all this, Wallis hasn't a single
"longhaired" thought on the making of
pictures ... he would be more an-
noyed than anything else if you called
him a genius and irritated by the label
of inspiration being put upon his work
. . . with him the making of the finest
possible commercial movies is a business
. . . and therefore being a businessman
himself he has no intention of going in
for any temperamental acts . . . besides
he is too busy ... he sees every foot of
film that is made each day at the War-
ner studio ... he talks to actors . . .
he interviews writers . . . out of it all
he has a gorgeous time doing the job he
loves best on earth. . . .
Thus, in his quiet, calculating person,
he represents the best of the brave new
world of Hollywood that does promise
us all a happy New Year . . . along
with the people who sigh and say that
the color has gone out of the town
there are those who grumble that
Hollywood isn't realistic enough . . .
they look at the Rockies putting their
snowy crowns up against the sapphire
skies and complain that those moun-
tains shut Hollywood off from the rest
of the world. . . .
Perhaps I should care that that is
true . . . but I don't ... I am thankful
it is true . . . for the holidays have just
come and gone in Hollywood and the
hills after their lovely fashion were
green and scarlet with the blooming
holly trees and every little way, as you
drove along the twisting roads, you
would see the tall white candles of the
yucca flowers . . . and there were
laughter and ambition and dreams
everywhere . . . for these people of
Hollywood are the everlasting children
of life . . . the continuous young in
heart . . . and there is still for us,
through them, the way to dream. . . .
And this, it seems to me, is very like
it was once before when the Dark Ages
shadowed the world and in many coun-
tries men were afraid to speak but here
and there, hidden in a monastery, or
some dim castle, the light of learning
was kept alive so that men might find
their way back to happiness again . . .
it seems to me this is Hollywood's mis-
sion for 1939 and that it will fulfill it
... let the cynical say if they like that
this is merely being blinded by Stardust
. . . who cares . . . what every lover of
motion pictures knows is that it is bet-
ter to be blinded by Stardust than it is
to be blinded by tears. . . .
84
PH OTOPLAY
Forbidden Great Loves of Hollywood
(Continued from page 25)
able to carry out their duty. No one
would ever awaken her again.
So, it seemed, she had been alone that
night in the house on the hillside.
"Wasn't she afraid?" the detective
asked.
"She was never afraid," her father
said, and for the first time since he had
seen the crumpled figure among the
scented pillows, he smiled. It may have
been a smile of pride. "There was a bell
connected with my room, if she ever
wanted me. It was right by her bed. I
kept a pistol and a shotgun out there.
Shotgun mostly for them big rabbits
that eat up my garden. Them jack rab-
bits are an awful pest."
They, examined the pistol. It was the
wrong caliber to begin with and obvi-
ously hadn't been fired in many a day.
And a shotgun hadn't made that small,
clean, fatal wound.
The motorcycle cop on patrol hadn't
seen anything. The neighbors had
heard nothing.
It came down to the empty safe, after
they'd dug as far as they could into her
life and loves. It was amazing how dis-
creet she'd been. Discreet and secret.
Half a dozen men were supposed to
have had affairs with her, but there was
nothing to prove they had been her
lovers. She had not married.
But there had been enough jewels in
the empty safe to pay, nowadays, the
price of murder. The insurance company
had a list of them and they were insured
for a hundred thousand dollars.
"Just like a woman," the detective
told the insurance investigators, "keep-
ing all that stuff in a little cracker box
like that. Like asking somebody to
come up and help themselves. Any-
body could open it, easier than a baby's
bank. And, of course, there ain't a fin-
gerprint on it."
Between them, the police and the in-
surance company did all the usual
things. They brought in and checked
up everybody connected with the jewel
ring. They brought in every safe-
cracker.
They sweat the servants and the
studio maid, who was the only one who
knew the combination to the safe.
Nothing came of any of it.
Hollywood drew a long sigh of relief.
It was a murder with a robbery motive.
That might happen anywhere. It was
no stain upon Hollywood's fair name.
"Nothing to do now but wait for the
jewels to show up," the insurance men
said gloomily. "The old man didn't have
any idea she had that much stuff. He
looked dazed, he sure did. He'll be
able to retire and go back to Omaha
now. Well, we'll watch the European
market."
But they have never shown up any-
where and I do not think they will.
For they are hidden very deep in the
earth of that Hollywood hillside, packed
down with rocks, covered carefully
with sand and dirt, and already the
heavy matted grass and the wild flowers
and the leaves of the scrub oaks have
covered them for several seasons.
I HE old man, her father, had been rest-
less that night. He often was. He did
not sleep well. But he had become
philosophical about it. He waited out
the night hours as he had waited out
so much else in life— his wife, and his
daughter and — other things. It was a
very dark night, especially in the
shadow of the hill. Not even the stars
sent any pale blue light, though if you
walked down to the edge of the road
you could see a few of them.
It was while he was walking down
that he saw the little car parked on the
driveway just inside the high adobe
wall, deep in the shadow. A pretty lit-
tle coupe of some color as dark as the
night. Often enough the old man saw
cars parked there at night in the
shadow. He knew them well. The long
black roadster, heavy and expensive.
And the smaller sports car. He knew
those cars well. But this small elegant
car he did not know.
The lights were still on in his daugh-
ter's room, the windows were an orange
glow above the little patio. You
couldn't see those lights from the road.
On his way back, he stood a minute
looking up at them. He was surprised
because it was after midnight and usu-
ally she was in bed before that when
she was working. She took very good
care of herself, she did.
Then he heard her laugh — that lit-
tle excited laugh, so like her moth-
er's. Often enough, as he walked his
garden or climbed up the hillside on
sleepless nights, he heard that little,
wicked, excited laugh, and then mur-
murs in the night and his heart froze
because it was so like other nights,
many years ago, nights he dared not
let himself remember, when love and
faith had been murdered in his breast.
And then, to his amazement, he heard
a woman's voice.
There were seldom any women at his
daughter's house. She was not popular
with women, though she was too shrewd
to let them get anything on her.
Suddenly, he heard a voice raised —
the woman's voice. It wasn't a scream.
It wasn't even loud. But it had in it a
terrible, passionate intensity. The very
sound of it made the old man begin to
tremble.
All desperation seemed let loose in it.
The dark night was suddenly alive with
danger.
And then — his daughter laughed. Af-
terwards, he was amazed beyond belief
that even she had dared to laugh in the
face of that desperate voice. Then, he
was too numbed to be amazed — he
heard only that wicked, excited, tri-
umphant little laugh.
The shot, not loud, cut it down, cut
it in two, left it hanging in the air like
an insane echo.
H OW he got upstairs to the bedroom he
never quite remembered. But the first
picture of it as he opened the door was
engraved on his mind forever.
He saw his daughter, crumpled among
the scented piljows, the red stain on
her breast, with her dark head thrown
back so that her throat made an arch,
and her dark eyes open, staring,
painted motionless on her still white
face. He saw the glowing orange lights
and the lush purple satin bed and the
tall woman in blue with the gun in her
hand.
The woman moved first. She turned
and looked at him. A thrill of pure
astonishment went through his brain.
For the face of the woman didn't match
the rest of the picture at all. It was a
plain, middle-aged face, with wide-
apart gray eyes and a big, gentle mouth
that was gray-white now. The hair un-
der the simple blue hat was seal brown
and it was odd that he should notice it
was long and rolled into a simple knot
at her neck. He noticed, too, that her
clothes were plain but very rich and
well-cut and that she still wore gloves
and that — why, she looked like a lady.
"Is she dead?" the woman asked,
quietly.
COUGH MADE
(DUE TO A COLD)
FAST EXIT!
"I am an actress. Before a
matinee I woke up cough-
ing. I took Smith Bros.
Cough Syrup. My cough
was better before two
o'clock." — Ann Fairleigb,
612 West 1 15th St., N. Y.
6 Oz. Bottle Only 60C
*T
SMITH
BROS.
COUCH SYRUP
contains
VITAMIN A
Do You Want To
"Feel Like A Million Dollars"
ALL THE TIME?
Then follow the simple, easy directions Bernarr
Macfadden gives you in this new book, Exercise
And Like It. No longer is exercising a dull, labori-
ous effort. Bernarr Macfadden's book makes it
fun ... a game with glowing, vibrant health as
the prize.
Here's a new start for countless men and women
who have been living a half-power existence — the
same formula that Bernarr Macfadden has applied
to his own life and made him the most amazing
specimen of dynamic good health of our age.
Regain Your Youthful Vigor
In Exercise And Like It, Mr. Macfadden offers vou
men a new, simple method for regaining youthful
vigor ... a definite plan for increasing your per-
sonal efficiency. He places at your disposal a pro-
gram which takes vou out of your depths of despair
and makes you vitally alive ; . . full of zest and
enthusiasm. By following his plan you soon be-
come a more attractive person ... a happier per-
son ... a healthier person.
Exercise f>mp,-rly done develops not merely the ex-
ternal appearances of youth, but the internal stim-
ulus of youth as well. Sex rejuvenation by gland
treatment has been exaggerated by many writers as
the only way to regain sexual youthfulness. Vet. if
we would develop the general qualities of physical
vouih, then these will be reflected in the more spe-
cialized qualities of sexual youthfulness.
Become a Human Dynamo
In Exercise And Like It, Bernarr Macfadden shows
you how to reach out and pluck the greatest re-
wards which life has to offer. Make no mistake
about this book — it is not an exercise drill-book
. . . not a dry discourse on health. It's alive
... its every page contains priceless information
— information which will transform men into
dynamos of energy — information which will de-
velop women into lovely, sparkling, beautifully
formed creatures.
Practically from the time you brgin using Exercise
And Like It, vou will notice immediate improve-
ment. Don't put off the sound, zestful health vou
should — and can — have anv longer. Order vour copv
of Exercise And Like It TODAY. At your book-
sellers or direct from the publishers.
Only $1.00
The price of this powerful, new 192-paee book.
containing over 50 illustrations, is but $1.00. If
not obtainable from your bookseller, send one dollar
to address below and book will be sent to you
postage prepaid.
I 1
Macfadden Book Co.. Inc.. Dcot. P2.
205 East 42nd Street. New York. N. Y.
paid, Bernarr Marfailrlen's creat I
new book. Exercise And Like It. 1 enclose (1.00.
ADDRESS
I
CITT STATE |
□ Check here If you wish the book sent C. O. D. 1
11 to pay postal rhar-e- upon delivery.
FEBRUARY, I 939
85
■CO \\ " 2 • * ° ^ : "'•»
0» — /V^.M J a- i 5 * | ■£!
^1
Learn Profitable Profession
in QO days at Home
>e®
lMN<t run •* hu). a* Wo to
a* prvfrr t.
fr (n lK>ct< ra. l'-n'»J*. s*ni-
I
■
' i.»ri« and booklet —
=•"*•• •» Swt^uh Mttuft
ren Blvd.. D.pt 2C7. Ch,(.»0
GIVE YOUR LAZY LIVER
THIS GENTLE "NUDGE"
FOLLOW NOTED
DOCTORS ADVICE.
FEEL "TIP-TOP"
IN MORNING!
If livr-r Mb <loesn't flow
freely every day into j
constipation and that
"half-alive" feeling often nsult.
So stop up that liver , how much
1 - you shouhl ted. Ju-.i try Dr. Edwards'
Olive T fully for >•
I>r. K. M. Edwards for his patients troubled
with constipation and sluggish liver bile.
Madp from purely rrgrtable Ingradil
Olive Tablets ;ir.' harmless. They not only
Stimulate bile flow to help digest fatty foods,
but also help elimination. Get a box TODAY.
. All drug
Dr. Edwards' OLIVE TABLETS
The old man's brain began to func-
tion. And it w.o- very, very strange,
the thoughts that came into it.
lie looked at the still figure and the
widening splash of crimson and he said,
"Oh, j ■ dead."
They stood, staring at each other. "I'm
her father." he said. "Who are you?"
She told him her name, still quietly.
It was a VI I name. It was, he
knew instantly, also the name of the
man who owned the great, dark, heavy
roadster that stood so many nights in
the thick shadow inside the adobe wall.
He was — but does it matter'.' Producer,
executive, director — anyway, one of the
powers that be, above all other powers
in Hollywood. This woman, with the
gun in her glovi d band, was his wife.
"She laughed," the woman said.
"I know," said the old man, and re-
membered how her mother had laughed
at him, when he was on his knees, beg-
ging, pleading, broken. The same ex-
cited little laugh when he had begged
her not to leave him because in spite of
all that he knew he couldn't seem to
think of living without the touch of
her. He had groveled there, and she
had laughed and gone just the same,
taking the child with her. He had never
seen her again and then, years later,
he'd seen his daughter on the screen.
The name wasn't the same but no mis-
taking her. The fates, perversely, had
filled the same mold twice. And drawn
by his own agony he had gone to her.
Oh yes, he knew that laugh.
I HE woman swayed, and he came out
of his boiling memories and put an arm
around her and made her sit down.
"You should — telephone — a doctor —
the police — " she said, and her throat
was convulsed so that the words were
broken.
"No," said the old man, slowly. "No.
Not just yet. We — must think. Why
did you come here?"
"I came — I shouldn't have come," she
said. "I thought maybe if I begged her,
maybe if I told her about the chil-
dren— " The words began to pour out,
matching in flow the blood that still
flooded from the dead woman they ig-
nored now for a brief moment. "You
see, it didn't matter when the children
were little. But now — it's been going on
for years. Oh, I knew. I always knew.
But I thought in time — but then — you
see, it was ruining him. Like a fever.
He was different. Lately, he's been —
you can't understand."
Her father thought of that other little
sports car and the slim, tall blond
young man who drove it away at two
and three in the morning. He under-
stood quite well why of late the
paunchy, overworked, gray-haired man
who was this woman's husband had
been almost mad. All this was as
though he were living his own life over.
"He wanted a divorce," the man's
wife said and began to weep.
"Don't do that," he said. He went
over and touched her shoulder, and
held his hand there until she was
quieter. Then he turned out all but
one of the lights. A shadow fell across
the chaise longue. The old man grinned
a little to think that, for once, she
couldn't take any part in the scene. He
hoped she was lingering near, trying to
scream at them, trying to call them
names — the way she did him sometimes
when she got mad — and that she knew
they couldn't hear her. She couldn't do
bing about it any more.
"How did you get in?" he said.
"She let me in," the woman said. "I —
asked her to see me."
How she must have loved that, the
old man thought. "Did anyone else
know you were coming?" he said
She shook her head. He took the gun
aw. iv from her then, and put it in his
pocket. He had made up his mind.
There was a chance — a chance — and he
>ing tn take it.
Aloud he said, "It's all right. Keep
perfectly still a minute."
IT was as though, with his terrible
memories, his youth had come back to
him for a moment.
He walked over and looked down at
the dead woman.
"It's funny," he said, to the woman
who sat frozen in her chair, her gray
eyes wide and terrible with her awak-
: realization, "but it seems right she
should die like that. How many people
— people — in Hollywood know all about
her and your husband? I always
thought people in Hollywood knew
everything."
"Nobody knew," the woman said bit-
terly. "Nobody but me. You see — she
wanted to marry him. And she didn't
want a scandal. Because, you see, there
were the children and his mother — he —
my husband — he was afraid of his
mother. So they sneaked — and lied —
and met in Paris — and went away on
his yacht sometimes and he came here.
Oh, she was clever. She had him — " the
woman made a gesture with her hand
as though she were squeezing some-
thing, "but she was playing for big
stakes.
"I'd never met her — and I came — I
thought if I begged her and showed her
what she was doing — "
The old man smiled. "Not much use
in that," he said.
"I couldn't have done this," the woman
said. "I had it in my heart — I wanted
to kill her — but I couldn't — "
"Where'd you get the gun?" he asked.
"I carry it in my car," she said, "be-
cause I drive alone at night — to the
beach house — I — I thought I'd frighten
her maybe — and then she laughed."
"Well," said the old man, "we got to
act quick and very quiet and you got to
do just what I tell you."
After all, there wasn't so much to do.
The night was very dark. He got the
little car out and headed down the can-
yon.
Then he went back and made her
fix her face and then he put her in it.
"Can you drive home?" he said. "You
got to. For them kids. If you can get
home and nobody knows anything there
— don't you worry."
Funnybone tickler El Brendel, snapped
at the Hotel Peabody in Memphis,
shows what the true sportsman is
carrying this year — a rifle, salt cellar,
tame duck and a copy of Photoplay
HE had the combination of the safe and
he opened it and took out the jewels,
wearing his old gardener's gloves all the
time. Then he knocked over a couple
of chairs and took a bottle of perfume
and threw it at the wall, like maybe she
had thrown it at the man opening the
safe. He knew her fingerprints were on
that bottle, all right. She was always
perfuming herself. He didn't touch her,
where she lay. It looked all right. He
studied it carefully. Like maybe she'd
fallen asleep on the chaise longue and
waked up and saw the man opening the
safe and started for the bell to call him
and knocked over the chair and then
grabbed up the perfume bottle and
thrown it when the man backed her to-
ward the chaise longue. Looked all
right.
He left the one light burning and then
he went downstairs and outside and,
with his tools, forced one of the low
windows off the patio, taking care to
stand on the flagstones so he wouldn't
leave a footprint, and cut the screen
and crawled through the window.
The jewels and the gun were in his
pocket. Tickled him he'd had the com-
bination of that safe. That silly studio
maid of hers had driven out one day to
get something out of it. Being in a
hurry and half-hysterical anyhow — she
could get people like that — she'd been
all thumbs and couldn't manage the
thing at all. Women never could seem
to open safes, anyhow.
So she'd asked him to help her and
he'd done it and remembered the num-
bers, not knowing exactly why, only as
he always remembered everything
about her. How furious she would have
been if she'd known.
The still path up the hillside was
familiar to him. He wore sneakers — the
same ones he always wore. Lots of
times at night he climbed that path to
the very top, because from there you
could see the ocean. On moonlight
nights it was lovely.
But tonight it was very dark, pitch-
dark. The powers of darkness served
him tonight, not her. He took along a
sharp trowel.
The hole was deep and careful and he
was careful as he crawled under the
brush and scrub oaks not to break any
branches. He came up here often after
yuccas. He planted the gun and the
jewels deep and covered them carefully.
Even if anybody knew where to look
they'd hardly find them. There was lots
of fine earth in which to hide things.
When he got back he remembered to
try the front door, to be sure it was
locked. Then he went upstairs to bed,
not turning on any lights and he was
actually asleep when the maid woke
him with her wild screams the next
morning.
NO, the jewels haven't ever turned up.
Probably, said the police, they'd been
sent to Europe and reset. So the insur-
ance company paid the money and the
old man decided to stay on in the Span-
ish house on the hillside.
"I'd hate to leave my garden," he said,
gently. "Besides, it was her home — and
it's got memories for me."
So Hollywood went its way and there
was no scandal. And a family went its
way, and if the woman was quieter and
sometimes sad, and if she spent more
and more of her time upon her knees in
a dim corner of a church and in good
works, nobody noticed it much. And
the old man tended his garden and per-
haps stood guard over that path up the
hillside.
The tree of forbidden love in Holly-
wood bears many strange fruits — in-
cluding murder. But don't look for the
house in the canyon or the little old
man, because that was just my way of
telling the story.
86
PHOTOPLAY
Like Ferdinand — He Loves to Smell Flowers
ie way around just because somebody's
able to come out and chase us off?" the
iend will say.
"No, it isn't that. But look— look at
lat grass, every blade a living thing,
ife growing there. Living. It's beauti-
il."
And over the face of the friend, as he
trns to stare at Jimmy, will come that
dltale expression that says, "If you
eren't my friend, I'd slug you. So help
ie."
Jimmy's is a sort of absent-minded-
;ss that comes with very ripe old age
id subsequent kidney trouble. Why he
)t it, the absent-mindedness, this far in
Ivance of old age is beyond the family's
nowledge.
One day, in New York, while dining at
is mother's home, his wife telephoned
mmy from a corner drugstore to ask
he had the house key with him.
"Just a minute, I'll see." Jimmy said,
ropping the receiver, he walked over
i his coat that hung on a chair. "Yes,
ire. I've got the key," he said quietly
i himself — and went back to his dinner,
he receiver hung while Mrs. Cagney
ood in a phone booth and fumed.
AGNEY'S life story reveals a strange
ling about him. He neither fought,
ormed nor schemed to get to the top.
!e thinks he did, remember. But I
Dubt, knowing the aesthetic quality of
is being, if Jim has it in him to ham-
ler his way along. No, instead, Cag-
ey merely set his compass in the direc-
on he thought he'd like best to travel
rid then manfully stood his ground,
■hile the hurricane of events poured
ver him. He did not mold his life to
attern. Life molded Jimmy. And,
■hen it was all over and the strife and
:orms and heartaches had beaten and
'orn themselves away, Jimmy looked
own and saw himself, surprisingly
nough, on fairly solid ground.
He started his theatrical career as a
tiorus girl. He was notoriously un-
retty. From any angle, in any pose, he
'as only personable in a gruesome sort
f way. It was noticeable from the last
ow in the gallery. It was spoken of
fith malice in several sections of the
lied theater. In fact, the only thing
lat saved him was the fact that Allen
enkins, in another chorus, was even
nprettier than he. Still is, for^ that
latter. Jimmy wasn't crazy about im-
iersonating a girl on the stage, but it
aid twenty-five dollars a week, just
en dollars a week more than he re-
eived as a bundle wrapper in a de-
lartment store. So he stuck it out and
rent on from there to fair breaks and
»ad breaks, and fair breaks and bad
ireaks, like an interminable sea, rising
rid swelling and beating him down only
o rise and swell and beat again.
He had two good chances at Broad-
vay; first, in "Outside Looking In," a
>lay with Charles Bickford; again in
'Penny Arcade" with Joan Blondell.
3oth times he showed to distinct ad-
vantage, but he was not a seasonal sen-
ation by any means. He hadn't yet
;urned to that sneering, clammy-
learted hoodlum of "Public Enemy"
hat made Jimmy Cagney theatrical his-
tory.
Cagney is a man misplaced in life,
professionally, and he knows it. He is
neither unhappy nor whimpery about
it; for, fortunately, acting pays well
enough to permit him occasional
glimpses of the life he really loves.
He is a beauty lover right through to
the soul of him. A farmer who loves
the earth. He is even more than that.
(Continued from page 28)
He is an aesthete. He sees beauty in a
tree. A flower. A day. A gesture. A
blade of grass. Music. The sky at sea.
A pretty girl. A moth.
Say what you will, our Mr. Cagney
has a great deal in common with an-
other one of our friends, one Ferdinand
the Bull. Time and again the compari-
son in the life circumstances of these
two characters of extreme aesthetic
tastes has come to my mind. Here are
two souls who, through accidents, were
thrust, and I think you can call it
thrusting, into an arena of combat.
Ferdinand, to face a frenzied matador
on a field of Spanish gore; Cagney, to
face a frenzied cop on long rows of
Hollywood celluloid.
The very circumstances behind the
projection of Ferdy and Jimmy into
fields foreign to their tastes are strik-
ingly similar. Our male bovine, for in-
stance, had the indelicacy to sit on an
indignant bumblebee, who, in sheer
self-defense, struck Ferdy squarely in
the rump, sending him leaping and gal-
loping into the arms of waiting com-
batants, who imagined, by these goings-
on, that Ferdy was only something this
side of terrific.
Jimmy, while also not attending
strictly to business, was hit by a the-
atrical bug that sent him galloping off
into the arms of Warner Brothers, who
also had ideas concerning the caperings
of the reflexed Mr. Cagney.
There were times when Jimmy tried
to get away from it all and, figuratively
of course, go back and sit under a tree
and smell the flowers. He tried it, fig-
uratively again, in several pictures for
Grand National and only recently in
"Boy Meets Girl." He's convinced now,
after the success of "Angels With Dirty
Faces," that he must stay in there and
fight — or be fought by an indignant
public.
I HERE is a universal belief, one gath-
ers, that Jimmy is a product of the
Ghetto or the broiling turmoil of New
York's east side. He isn't. His home, in
Yorkville, was that part of the city
proper inhabited by poor and hard-
working Americans as well as Germans,
Jews, Italians removed from the
mother-country by one generation.
The Cagneys, fatherless even before
the baby sister was born, and almost
penniless, functioned as a unit. They
had to. United they could and did sur-
vive. The boys, all four of them, hus-
tled after school but daytimes they
went to school and high school and uni-
versities. They became doctors and
business men and Phi Beta Kappa key
holders — all because the mind of one
Irish woman was obsessed with the idea
of education. They grew up with it in
their hearts and minds and souls: they
never dreamed of disobeying. But it
wasn't until after high school and fur-
ther education removed them from that
particular environment that these Cag-
neys discovered the world did not talk
with a Yorkville inflection. And. quick
as a flash to catch on, they changed
their mode of speaking.
The sentimentality of the Cagneys
among themselves was often commented
on. When they left their mother at the
door to run down to the corner grocery,
they kissed her tenderly, kissing her
again when they returned. Grown boys
at that. Their happiness at being held
together by this woman found expres-
sion in this manner. And still does. But
then, they're naturally a sentimental
lot. the whole kit and kaboodle of them.
At twelve, Jimmy experienced his
first real suffering. He was homesick,
while at home, for the green of the
countryside he'd discovered for the first
time when on a two weeks' vacation at
a boys' camp. He'd tramp the crowded
sidewalks with his soul full of ache.
He'd found the thing he loved — nature,
beauty. And he could not bear to be
away from it. In fact, the first money
he ever saved in his life went for a
crudely constructed, crack-polluted
shack on a wooded hillside in New Jer-
sey. He'd go out there between jobs
or over week ends and just sit, gorging
himself on the woodland beauty, while
the mosquitoes gorged on Jimmy.
Now, circumstances have permitted
him to buy a bigger shack on a farm
(this time with no cracks) on the Island
of Martha's Vineyard, off the coast of
Massachusetts. Here he spends every
spare moment between pictures. The
way he fits into the life there is touching
and amazing. To see him there among
the old inhabitants — fishermen mostly
— is really to know James Cagney, Pub-
lic Enemy Number One of the screen.
He'll drive down the wooded road and
meet up with a neighbor. "Hi, Jim," the
neighbor will nod quietly and solemnly,
and Jim, in the same tones and same
expression, will nod back, "Hi, Lem."
Many of these people haven't the
vaguest idea Jimmy's the cinema star of
Hollywood. And those who do aren't
impressed. He'll gather with them down
at the nding, and, for hours on end,
discuss the business of boats and fish-
ing and farming and life and, as the
talk flows along, one will know that
Jimmy Cagney has come home at last,
and at last found — peace.
He painted his barn red so the blue
blossoms of a prize tree would show up
to greater and more artistic advantage.
And when the hurricane hit his be-
loved island last Autumn, it was right
to that tree that Jimmy flew with an-
chors to keep it from being snapped
with the gale that bent it double.
IES, this Cagney's a funny guy all
right. A fellow who can adapt himself
to any circumstances of living. For in-
stance, when he and Mrs. Cagney re-
turned to Hollywood for a picture be-
fore their new home was completed,
Jimmy said, "Why spend all this money
to live in a hotel suite? There are a
couple of rooms finished over our ga-
rage, aren't there? Well, let's move in."
And there the Cagneys lived, hap-
pily and contentedly, for months.
He gets kind of a little boy kick out
of the Western outfit he wears in "Okla-
homa Kid" and loves to talk with the
old codgers on the set, men who really
saw the lawlessness of the old West.
And yet, he hasn't the kind of mind
that can comprehend or appreciate a
man's hobby if the scope of that hobby
consumes time and money. Lloyd
Bacon was talking to Jimmy about the
elaborate toy train set he once owned,
and the pleasure the costly miniature
outfit had afforded him.
"How much did it cost you?" Jimmy
asked.
"Oh, about ten thousand dollars."
Bacon replied, "with all the equipment."
The face of Jimmy Cagney assumed
perfect blankness. His mouth fell
slightly open as he breathed, "Holy
smoke . . ."
He keeps in the best of trim and will
climb over the hills all by himself just
for the exercise. He's careful about his
diet. Except for cookies. As I said in
the beginning — there's something about
Jim Cagney and a plate of cookies. . . .
"Remember how I used to be, Carol? Forever
letting dow n my friends . . . breaking dates ami
appointments . . . staving at home several
days each month — because 1 though] I had lo!"1
"Then you made me see how much I was miss-
ing by doing nothing to relieve menstrua] pain
■ — robbing myself of a full month of living every
year. That's when you told me about MidoL"
T could bless you for it today! If it weren't for
Midol, I'd be at home right now. Thanks to
you both, there's a new month on my calendar!"
DOCTORS know that severe or prolonged
functional periodic pain is not natural to most
women. Now thousands of women have dis-
covered much ot it is unnecessary. For unle-?
there is some organic disorder calling for a
physician's or surgeons attention, most of those
who try Midol rind it brings swift relief from
such sutiering.
Midol is made for women for this sole pur-
\ few Midol tablets should s. i
serenely through your worst day. fry Midol:
discover, as many women have, that i:
to keep going and still keep comfortable! Your
druggist has Midol in trim and economical
aluminum cases to tuck in purse or pot Let.
Is there any thing about menstruation
tehielt \<im iht not umlerstaml / Wi«/«/'i
nrn lnntklet, "If hat W innen Want to
Awi.mi ." rfwnfl clearly and eomplet ely u it h
this i ital suhjeet . fur free ropy , together
11 il ha trial naekage of .Midol, send name
anil address to (general Fh-ug Co.. [tent.
/<-.'■', 1T0 tarick St., Neic Ic.rA, V 1.
MIDOL
Relieves Functional Periodic Pain
FEBRUARY, 1939
87
WITH
€Y€ B6AUTY AIDS
Pole, unortroctive loshes and browi need
not tpoil your loveliest feoture — your eyes.
Transform neglected lathes into long,
dark, curling fringe with a few touches of
Moybelline Mascara. Form expressive
brows with Moybelline Eyebrow Pencil.
Brighten color of eyes with Maybelline Eye
Shadow. Solid-form and Cream-form Mas-
cara in vonity sites, 75c. Purse sizes of
oil Maybelline Eye Beauty Aids at 10c
stares. Todoy— discover these adorable
aids to loveliness! You'll be thrilled)
MOTION PICTURE FANS, ATTENTION ! ! !
-I - . i ■. - , etc . of your Favorite
■vest Price*. Send $1.00 for Sample
unlrfinil Price LM (no stamps ace.
l HJ Ran Merit Miuiido daoru back (o 191.'. Jl OOrni'h.
REEL PHOTO SERVICE. 1438 N. Talman Ave., CHICAGO, ILL.
KILL THE HAIR ROOT
ve *uih
vine di
►crfluoua hair privately at home.
illi ordinary care
II-
llirhtful" relief
II i.tnu: happiness, freedom of mind and
Itreater success. Backed by 4 5 years of
.1 use all over the world. Send
6c m lUmpi TODAY for Illustrated Book-
let, "How to Remove Superfluous Hair
Forever."
O. J. MahierCo., Dept. S7B. Providence, II. I.
PHYSICAL fll
ALLURE
IV your shoulders are
tin*. — neck ami bit I
retrain their natural elasticity
with a Kromer Shoulder I .race,
as no many women are in.w d
The Kn.mer Brace creates the tech-
nique of posture It keeps your shoul-
back — you get a chance to
aa nature Intended
out jrour chest — to develop your bust
and neck.
Now you too can take your place
with those richly vibrant women
gun a radiate health and at-
nd pour normal
mi .L-iir. mi 'nt. Address:
Try aKUftMl U
only *5DC
■ — by mall post-
paid — ami It's
■
KROMER BRACE CO., Milwaukee, Wis.
D.D.rlm.nt P-1
430 North W.t.r Str«et
The Shadow Stage
MERCOUZEDSE* CREAM
-/KEEPS YOUR SKIN
^ix Cream flakes off the surface skin
in tiny, .rticlcs. Reveals the clear, soft,
smooth, young looking undcrskin. This simple, all-
in-one cleansing, softening and beautifying crc;im
has been a favorite for over a quarter cent,
lovely women the world over. Bring out the hidden
beauty of your skin with Mcroolized Wax Cream.
Try Phelactine Depilatory
For qulr LI > rrm<,\ I ti si sutx-rfluouH h.ilr from face.
Sold at eomwHc counters fiiryu Am in .
88
EVERYBODY'S BABY— 20th Century-Foi
I UK Jones Family has a new member
in this rollicking episode — a grandchild
who soon succeeds in breaking up the
family. Quack doctor Reginald Denny
tnoVM in and proceeds to bring up the
ih-w baby scientifically, and the net re-
sult of all the hygienic methods is that
grandfather Jed Prouty rages and father
Russell Gleason leaves his wife, Shir-
ley Deane, until great-grandmother
Florence Roberts takes a hand.
LITTLE ORPHAN ANNIE-Colonial-Paramounl
I HE children will probably like this,
but if you've grown fond of the comic
strip character, you'll be very disap-
pointed in the picturization. Ann Gillis
is j47iuie and, if you can imagine it, she
manages a prize fighter. The town
heavies lock him up on the night of the
big fight but, with the aid of the com-
munity ladies, he breaks free and wins
the fight. Who cares, anyway?
PECK'S BAD BOY WITH THE CIRCUS—
RKO-Radio
nHEN you see the kids' bikes lined up
outside a theater in the afternoon you
will know this is showing. Tommy
Kelly and Ann Gillis star, with Tommy
still being too angelic for Peck's Bad
Boy. The story is what you'd expect it
to be. Benita Hume and Spanky Mc-
Farland are also in the cast.
* FLIRTING WITH FATE-M-G-M
nERE'S Joe E. Brown back again, with
a swell comedy angle to work on. He's
the leader of a troupe of actors who run
into Leo Carrillo's banditti while en
route (in a trailer) to New York. Car-
rillo fancies Steffi Duna, one of Brown's
thespians, and so the troupe is held in
captivity.
Joe E.'s antics, during the interim,
will send you rolling into the aisles.
• OUT WEST WITH THE HARDYS-M-G-M
AFTER "Love Finds Andy Hardy," this
next in the series could not fail to crack
the boxoffice for new records. The
Hardy Family (Lewis Stone, Mickey
Rooney, Cecilia Parker and Fay Hol-
den) go to visit old friends who own a
ranch in the West. These friends are
having trouble over water rights and
while Judge Hardy labors to straighten
out the situation, Andy and Cecilia find
that the Wild West is tougher than
they thought it was.
LITTLE TOUGH GUYS "IN SOCIETY"-
Universal
iHESE Little Tough Guys (Frankie
Thomas, David Gorcey, etc.) have quite
a time when they get a vacation on a
rich estate. Society matron Mary Bo-
land invites them to bring her snobbish
son, Jackie Searl, around — and climax
comes when a crook stages a real stick-
up. Then the Tough Guys, and Jackie
too, come to the rescue. It's all handled
from a comic viewpoint. •
SAY IT IN FRENCH-Paramount
flHEN Ray Milland returns from Eu-
rope with a secret French bride, Olympe
Bradna, he discovers his family is plan-
ning to announce his engagement to
Irene Hervey. Out of such a situation
comes excellent comedy, with plenty of
slapstick action to give it added interest.
SWING THAT CHEER-Universal
T OU swing it. We give it to you.
You're tired of football now, anyway,
(Cotitinued jrom page 49)
but maybe you can get some excitement
out of Tom Brown (he's been a college
boy too long) and Robert Wilcox being
Wilcox grandstands in football
games while Brown is considerate and
doesn't Still, this threatens their friend-
ship. Constance Moore doesn't help
any, since both love her. Guess how
the big game comes out?
P
SECRETS OF A NURSE-Universal
UT a nurse, a crooked fight racketeer,
a criminal lawyer and a prize fighter
together, yell "Roll 'err," read a good
book, and then yell "Cut!" You get
this. Nurse Helen Mack loves fighter
Dick Foran, lawyer Edmund Lowe loves
Helen, but nobody else loves anybody
else. Someone is killed (you won't care
who) and they accuse Foran. Lowe
takes the case, despite loving Helen,
who loves Foran, who gives up fighting
to be a bellhop. Oh, well. . . .
PARDON OUR NERVE-20th Century-Fox
IN this picture, you get Lynn Bari and
June Gale as gals who, of all things,
are prize-fight managers. This situa-
tion is good for quite a few laughs, with
"Big Boy" Williams and Edward
Brophy gagging as if they meant it.
Michael Whalen supplies romance, such
as it is.
SPRING MADNESS— M-G-M
ADD another college picture, on the
not-so-hot side. Lew Ayres is a Har-
vard Senior who doesn't want to get
married. But he falls in love with
Maureen O'Sullivan and when she gets
together with her girl friends he hasn't
a chance. Everything winds up, includ-
ing his hopes for the free life, at a
Spring Dance.
Writing is badly done and Ayres is
at a disadvantage. Burgess Meredith,
as his pal, hams just a little.
• DRAMATIC SCHOOL— M-G-M
lOR those whose interest in the theater
is very great, this is a handsome and
especially well-done piece of education.
Simplicity is the story's keynote, with
Luise Rainer cast as the poor factory
girl who wants to act and to whom Art
is everything. Rainer is at her best in
this. So is Paulette Goddard, as a prac-
tical actress. Gale Sondergaard, Alan
Marshal, Lana Turner, Genevieve To-
bin, Anthony Allan and other good
troupers lend their able support, but
watch Goddard.
THE SHINING HOUR-M-G-M
"The SHINING HOUR" is a little tar-
nished, but you can't- blame its stars for
that. Joan Crawford gives one of the
most polished performances of her long
career; Margaret Sullavan, as is inev-
itable, steals each scene she's in. The
story is that of a lowborn dancer, La
Crawford, who marries a rich South-
erner and goes with him to his farm.
ANNOUNCEMENT
Due to the fact that we carry a
number of unusual features in this
issue, we have not printed "Casts of
Current Pictures." If, however, any
reader desires a particular cast of a
picture reviewed this month and will
drop us a card, we shall be happy to
forward the cast in question.
Said farm looks like the public library
and houses Fay Bainter, Robert Young
and his wife, Maggie S. You get
the setup: Joan and Robert are at-
tracted to each other and there ensues
an involved period in which no one
knows who's in love with whom. Mel-
vyn Douglas does an excellent job as
Joan's husband.
• THE COWBOY AND THE LADY-
Goldwyn-United Artists
KlCH girl poor boy, again. But it's
done on a grand scale and furnishes
valuable entertainment. Merle Oberon
is the daughter of a politician who
goes to the Miami house to escape pub-
licity in the face of her father's Presi-
dential campaign and there gets demo-
cratic with her maids, Patsy Kelly and
Mabel Todd. Starved for amusement,
Merle goes with them on a blind date
and it turns out to be Gary Cooper, a
cowboy who is in Florida for the Rodeo.
He is sincere about everything and asks
her to marry him. She does. The re-
sult is that he doesn't know she's rich,
because he doesn't like rich girls, and
her father doesn't know she is married,
since the disgrace of it all would ruin
him. How Merle gets out of this mess
makes good cinema. Cooper gives his
usual fine performance; Miss Oberon is
a kind of British Carole Lombard; and
Patsy Kelly is in there for the laughs.
Harry Davenport, as Merle's uncle, has
a grand role.
• THANKS FOR THE MEMORY-Paramount
WHEN "Thanks for the Memory" was
such a great song hit, Paramount de-
cided they might as well capitalize on
it. This is the result. Bob Hope and
Shirley Ross are reunited as the married
couple who find difficulty in getting
along and so able is their work, so well
defined the story, so capable the direc-
tion that the piece is one of the best
comedies of the month. Hope is thor-
oughly at ease in his role of the young
novelist, and Miss Ross is very attrac-
tive as the young bride, an ex-model
who goes back to work so he can write.
The nostalgic value of the song is well
used when the two separate, with the
fact that a Heavenly bundle is on its
way doing the rest.
STORM OVER BENGAL-Republic
A BANG-UP melodrama, this has ac-
tion, thrills, the oldest of plots and a
simulated English accent. Patric
Knowles plays the intelligence service
aviator who finds the secret radio sta-
tion which is inciting natives to rebel-
lion. Dick Cromwell dies in a plane
crash while trying to warn the march-
ing troops of an ambush. And there
you have it, except for Rochelle Hudson.
• PRISON WITHOUT BARS-
Korda-United Artists
WHILE there is a familiar ring to its
crime school plot, n3w faces and excel-
lent photography put this English pic-
ture into the above-average class. Cru-
elty reigns in a girls' reformatory until
the arrival of new superintendent Edna
Best. Her clean-up job becomes so ab-
sorbing that her neglected fiance, prison
doctor Barry Barnes, transfers his in-
terests to a young inmate, Corinne Lu-
chaire, and the eternal tragic triangle
results.
Corinne Luchaire is hauntingly lovely
as the incorrigible. Most interesting
part of the film is the honest characteri-
zations of minor roles.
PH OTOPLAY
Brief Reviews
• IF I WERE KING-Paramount
A rich period piece, elaborately embroidered
with spectacular sets, huge crowds of peasants and
princes and charmingly acted by the chief protagon-
ists, Ronald Colman as Francois, the 15th Century
poet-adventurer, and Basil Rath bone (superb) as
the sly, craven Louis XI. Frances Dee is de-lightful
as the lady-in-waiting who captures Colman's heart
after Ellen Drew has had it. This is your dish. (Dec.)
INSIDE STORY-20th Century-Fox
The second in the "roving reporter" series finds
Michael Whalen a^ain the intrepid newsman in-
volved in a night-club murder when the villain
steals the witness, Jean Rogers. Oh, well, it all
works out. A weak sister. (Jan.)
• JUST AROUND THE CORNER—
20th Century-Fox
Shirley Temple's studio has given her a perfect
formula for her growing-up talents in this gay
picture. Daughter of a depression ruined architect
(Charles Farrell), she manages to charm a flint-
hearted old mogul into putting papa back into
big-time money. Joan Davis, Bert Lahr, Cora
Witherspoon, Bill Robinson and others do their
stuff. (Jan.)
KING OF ALCATRAZ-Paramount
A hard-fisted drama of a pair of friendly enemies,
Lloyd Nolan and Robert Preston, who forget their
leuds to hunt for J. Carrol Naish, an escaped con-
vict hiding aboard a tramp steamer. Gail Patrick,
the ship's nurse, is calmly beautiful through the
bloody fracas; Harry Carey is clever as the captain.
Pretty brutal. (Dec.)
LADY OBJECTS, THE-Columbia
A genuine understanding of the problems of
young marrieds is evident in this simple tale.
Gloria Stuart and Lanny Ross are the couple whose
attempts to keep up with the Joneses force a re-
adjustment in their lives after much action and
some suspense. Very nice. (Dec.)
LISTEN DARLING-M-G-M
This little story of an everyday problem and how
to solve it is fresh as a daisy. When widow Mary
Astor decides to marry a man she doesn't love,
daughter Judy Garland and son Freddie Bartholo-
mew decide to take a hand, find a perfect papa
for a ready-made family in Walter Pidgeon. It's
very funny. (Jan.)
ir MAD MISS MANTON, THE— RKO-Radk)
Miss Stanwyck, carrying her furs with great
aplomb as a Park Avenue heiress, runs afoul a
murder in the first reel. Bodies continually dis-
appear, but "Babs" and her coterie of debs clear
up a crime wave in a swank way to the disgust
of Henry Fonda, a hard-working reporter. You will
grin like silly all the way through. (Jan.)
MAN FROM MUSIC MOUNTAIN-Republic
It's warbling Gene Autry to the rescue when real
estate sharks take over a ghost town. Carol Hughes
does little but look pretty, Sally Payne is funny,
Smiley Burdette is around as Autry's aide. Lots
of cowboy heroics. (Nov.)
• MAN TO REMEMBER, A-RKO-Radio
A heart-appealing story of a country doctor more
interested in the life and death of his patients than
in his bank account. Lee Bowman, as the son who
disappoints him, Anne Shirley, as his adopted
daughter, are splendid, but it's Edward Ellis, as the
medicine man, who steals his own show. (Dec.)
• MARIE ANTOINETTE-M-G-M
You don't need our advice about this magnificent
effort to make you happily, if weepily, sentimental
over the young Queen of France who lost her head
in 1793. Norma Shearer is superb. Tyrone Power,
as her lover, John Barrymore, Robert Morley,
Anita Louise, Joseph Schildkraut and too many to
mention are simply elegant. Yellow orchids to this.
(Oct.)
■k MEN WITH WINGS— Paramount
Due to expert technical direction and Techni-
color, this is in the main an exciting, if sketchy,
saga of men's conquest of the air from the Wright
Brothers to Howard Hughes. Basting it together is
a triangle love affair between I.ouise Campbell,
Fred MacMurray and Ray Milland. Great spec-
tacle. (Jon.)
MISSING GUEST, THE-Universal
What goes on here, anyway? Organs are played
by invisible hands, doors close with no one around,
thunder rolls madly while Paul Kelly, a journalist,
wanders around murmuring proverbs while solving
a murder. Of all the nonsensical pictures, this takes
the biscuit. (Nov.)
MR. DOODLE KICKS OFF-RKO-Radio
Just as daffy as the title indicates, this allows Joe
Penner to be band leader, Ping-pong champion,
football player and general campus cut-up . . . and
he'll make you laugh in the bargain. Otherwise j ust
another college pix. (Dec.)
MY LUCKY STAR-20th Century-Fox
A too mediocre college film, until Sonja Henie
gets on the ice — then the screen becomes magic.
English Richard Greene (his accent is impossible)
is her beau ideal; Cesar Romero is again a play-
boy caught in the clutches of gold-digger Louise
Hovick. See this for Sonja's lovely ballet and for
her smiling self. (Nov.)
NIGHT HAWK, THE-Republic
Possibly on a double bill you will grab this little
melodrama of gangsters and iron lungs. Relax. It's
not bad. Bob Livingston plays the reporter who
(Continued from page 6)
gets past hijackers with a respirator to help Bob
Armstrong's sick brother. June Travis is easy to
look at. (Dec.)
• PARADE OF DISNEY SHORTS-RKO-Radio
In this series of eight shorts, Mickey Mi
father pnflves again the ineffable amusement in
animated cartoons. "Ferdinand the Bull," "The
Ugly Duckling," "Mother Goose Goes Holly-
wood," "Donald's Lucky Day," "The Practical
Pig," "Goofy and Wilbur," "The Brave Little
Tailor" and "Barnyard Symphony" ... we hope
you catch each and every one. (Dec.)
RICH MAN, POOR GIRL- M-G-M
A surprise awaits you who expect just another
movie and find here a gay and charming hit.
Robert Young is the rich boy who falls in love with
Ruth Hussey, a poor girl — but proud. Lew Ayres,
as the complaining cousin, is priceless and Lana
Turner looks button-cute. (Nov.)
ROAD DEMON-20th Century-Fox
A stirring little action-drama, second in the series
of sports-adventure pictures dealing with the thrills
and hazards of auto racing. Henry Armetta is
again the garrulous, lovable Papa Gambini. Thomas
Beck, Henry Arthur and Joan Valerie round out the
cast. (.Yoi>.)
ROAD TO RENO, THE-Unlversal
Hope Hampton looms as a new screen per-
sonality who sings divinely, looks ditto. The story
is a satire on divorce in a Nevada setting with
Randy Scott as the rancher husband who teaches
his changeable wife a good lesson in matrimony.
Glenda Farrell, Helen Broderick and Alan Marshal
are able support. (Nov.)
• ROOM SERVICE-RKO-Radio
The mad Marxes in the screen version of the play
that rocked Broadway. It concerns a down-at-the-
heel producer who boards his whole company at a
hotel, is then at his wits end to get any bread to put
butter on for them all. Frank Albertson, Donald
MacBride, Philip Loeb and the Marxes themselves
will have you hysterical with laughter at moments.
(Dec.)
SAFETY IN NUMBERS-20th Century-Fox
The Jones family in one of the fastest comedies
in the series. June Carlson wins a radio contest;
Ma Jones then goes on the air, swindlers step in,
the clan goes to her support and wonderful things
happen till you are pretty hysterical. The usual cast.
(Nov.)
SERVICE DE LUXE— Universal
Golly, this is a bad picture. There was originally a
good idea in a woman running a personal service
bureau on the look out for a husband, but the
humor missed fire. Connie Bennett is the inventive
business gal, Vincent Price (late of "Victoria
Regina" on the stage) does nicely in his first screen
role. (Jan.)
• SISTERS, THE-Warners
Myron Brinig's novel dealing with the varying
romances of three sisters, against a San Francisco
background in the early '°0's, emerges on the
screen as one of the great emotional dramas of the
year. Emphasized is the marriage of Bette Davis to
a drunken, irresponsible newspaper man, Errol
Flynn. Anita Louise, Jane Bryan, Beulah Bondi and
Henry Travers are outstanding. On your "must"
list. (Dec.)
SONS OF THE LEGION-Paramount
100% Americanism patriotically glorified in this
sentimental piece concerning a former soldier dis-
honorably discharged and the effect of this on his
two sons who wish to join the Legion. Tim Holt,
Billy Cook, Billy Lee, Lynne Overman and Eliza-
beth Patterson contribute touching moments. (Dec.)
SPAWN OF THE NORTH-Paramount
A high-spirited tale of friendship between two
men (Henry Fonda and George Raft) in the days
of fierce fishermen feuds in the salmon waters of
Alaska, tins is sometimes an epic, often an error.
Louise Campbell and Dot Lamour are "the women,"
but Slicker, the seal, steals the show. The photog-
raphy and fights scenes are superb — so is John
Barrymore. (Nov.)
ir STABLEMATES-M-G-M
As a workout for the tear ducts, this is another in
the four-handkerchief class. Wallace Beery has
again his sad-eyed "Champ" role as the discredited
horse doctor; Mickey Rooney, with a heart of gold,
is his pal. Margaret Hamilton and Marjorie Gate-
son are elegant support. The Rooney is quite at
home. (Dec.)
STORM, THE-Universal
A whirlwind of action takes place in this minor
drama. Charles Bickford, he-man wireless operator,
and sea captain Barton MacLane, put on terrific
brawls when Bickford's pal, Preston Foster, dies
on shipboard. Tom Brown and Nan Grey are
loverlike; Andy Devine and Frank Jenks supply
the comedy. (Jan.)
ir STRAIGHT, PUCE AND SHOW-20th Cen-
tury-Fox
Three bad men on a horse, the Ritz Brothers, skim
tlirough this race-track story with their usual balmi-
ness. Dick Arlen and Phyllis Brooks are the nag's
owners; they land behind the eight ball and so does
the horse. Ethel Merman's torch songs are swell.
(Dec.)
ir SUBMARINE PATROL-20th Century-Fox
An excitingly well-handled story of the splinter
fleet, that World War group of ships which hunted
enemy submarines. Richard Greene is the rich
snob shown the error of his ways by Nancy Kelly
(Zanuck's new find — and nice); Preston Foster
-11 as the officer who heroically regains hi-
Lost reputation. Very fine. {Jan.)
it SUEZ— 20th Century-Fox
If you like your history artistically (if t.
truthfully) told. y>u will Ik- highly enti I
watching Tyrone Power ■>- Ferdinand >U I
<li« the Suez Canal. Loretta Young,
««, and Annabelia, as a French uamin with
a heart of gold, take his mind oh In- work at |
Tin- photography, the simoon -<-<tuc-nce and the
supporting cu^t are exciting. (Jan.)
• SWEETHEARTS-M-G-M
The new Jeanette MacDonald-Nelaon Eddy film
< famous team married, playing in I
pa rated by the machinations of Frank
Morgan, a producer, Mischa Auer. a playwright,
and Reginald Gardiner, a Hollywood agent. This
has beauty and the delicious melodies of Victor
rt sung by the pair — both in perfect voice.
(You 11 go without any of our remarks.) (Jan.)
TENTH AVENUE KID— Republic
Cops and robbers are played again with Bruce
Cabot surprisingly on the side of the law. You 11
remember Tommy Ryan, a youthful newcomer,
who is finally persuaded by Cabot that there is no
gain in guns. Beverly Roberts i* adequate as the
girl in love with the policeman. (.Vot.)
• THAT CERTAIN AGE-Universal
Check up another triumph for Deanna Durbin's
singing in this story of a young girls infatuation for
an older man (Melvyn Douglas) and her reaction to
the pangs of first love. Irene Rich and John Halli-
day as Deanna's parents and Jackie Cooper
beau are exceptional support. Delightful. (Dec.)
THERE GOES MY HEART-Hal Roach-United
Artists
A dated story on the "It Happened One Night"
angle with Freddie March miscast as the nev
chasing Virginia Bruce, an heiress uored with hex
dough. Patsy Kelly is Ginny's shop-girl friend and
gets any laughs there are. If you are a devotee of
the goofy school. (Dec.)
• THREE LOVES HAS NANCY-M-G-M
All the ingredients in this pie are A-N'o. I. Itoffers
Bob Montgomery as an author, his old-time role
as sophisticate, Janet Gaynor as the na'ive little
country wench whom he falls in love with on a
lecture tour. Franchot Tone is a playboy publisher,
also nuts about Janet. The dialogue is particularly
good and all the principals are at their best. (Nov.)
ir TOO HOT TO HANDLE-M-G-M
A spectacular saga of newsreel men and an
aviatrix, filled with explosive action and suspense.
Gable is at his exuberant best as the sly camera-
man who uses his charm to entice flyer Myrna Loy
to fake a few shots, finally wins tier from rival
Walter Pidgeon in fine style. If you liked "Test
Pilot," you'll be nuts about this sequel. (Dec.)
TOUCHDOWN ARMY-Paramount
John Howard is the smart-aleck ace football hero
who comes to West Point, takes a beating because
he isn't "regular." Mary Carlisle, the Major's
daughter, then puts in her oar, and Love and the
Army team set out to win. Straight autumn cinema.
(Dec.)
VACATION FROM LOVE-M-G-M
We thought we had said finis to screwball
comedies schooled in an asylum, but no . . . Dennis
O'Keefe and Florence Rice are pretty dizzy in this
one, marrying in haste and repenting in leisure.
Reginald Owen is perfect as the capitalist father
who wants miracles of service because he pays his
taxes, doesn't he? (Dec.)
• VALLEY OF THE GIANTS-Warners
Buttressed with magnificent natural scenery in
Technicolor and heavy action in the way of fistic
encounters, Peter B. Kyne's rugged story of the
California redwoods adds up thus — boy has lumber
property, villain has mortgage, both want girl.
Wayne Morris. Charles Bickford and Claire Trevor
play their straightforward roles in character. Worth
seeing. (Nov.)
ir YOU CAN'T TAKE IT WITH YOU-Columbia
Frank Capra has miraculously transferred the
daffy doings of Grandpa Vanderhof from the stage
to the screen. An appealing love story, a subtle
commentary on American life filled with delicious
humor, a slick job of casting and acting — what more
do you want? Lionel Barrymore, Spring Byington,
Jimmy Stewart, Jean Arthur, Edward Arnold,
Mischa Auer — each is beautiful. (.Vot.)
• YOUNG DR. KILDARE-M-G-M
Lionel Barrymore and Lew Ayres both handle
their jobs with sincere competency in this conven-
tional story of a veteran physician's faith In a
young intern who prefers a metropolitan hi
ward to country practice, lands in trouble when he
denes a rich patient. Jo Ann Sayers (new to films)
is Ayres' romance. (Jan.)
ir YOUNG IN HEART, THE-Selznick-U. A.
Introducing a giddy family which lives by its
wits on other people's pocketbooks. Billie Burke i*
the flighty mamma; Roland Young, the upstart
father; Janet Gaynor and Doug Fairbanks Jr..
brother and sister. Paulette Goddard is Doug's
heart interest, Richard Carlson, Janet's. Minnie
Dupree is elegant as the rich old lady who cliangcs
the family's tune. A good job. (Jan.)
YOUTH TAKES A FLING-Universal
There is something satisfying in this unpreten-
tious picture of a girl's attempts to follow the adage
"the way to a man's heart is through his stomach."
Joel McCrea couldn't be better as the Kansas farmer
boy who yearns for the sea; Andrea Leeds is prettily
adequate as the shop girl. Lots of chuckles. (Dec.)
My yf^ndi
Ivcuje. clumcfed, toe"
So many prefer this golden liquid lotion
that isn't thiclc and is guaranteed not to
thicken. Chamberlain's Lotion is ideal
to protect skin in wintry weather. It
dries with convenient rapidity and
there's never a trace of stickiness. It
soothes as it smooths away roughness
and resulting redness. You'll like
Chamberlain's Lotion, too. Try it and see.
amber-Iain's
It Drir...Deiirlmenl stores " \^BEJ
and Ttiltt Gtotfi Cognltri
SEND FOR CONVENIENT "CARRY SIZE"
CHAMBERLAIN LABORATORIES, INC.
DES MOINES, IOWA
Please send Free "Carry-Size"
Chamberlain's Lotion.
NAME
P-29
i*tt!
STREET.
CITY-STATE
MAIL THIS COUPON TODAY Good only in U.S.A.
SPECIAL WORK FOR WOMEN
ham up to Hi in a week and your own dresses rree. >o
canvassing, no Investment. Write fully tiring age, dress size.
FASHION FROCKS. Inc., Dept BB-285, Cincinnati.. 0.
LEG SUFFERERS
|l
^m ' I Why continue to suffer without atterupt-
I ing to do something? Write today for
Hill New Booklet— "THE LIEPE METHODS
FOR HOME USE." It tells about
■x H| Varicose Veins. Ulcers and Open Leg Sores.
>■ Llcpe Methods used ichlle i/ou walk. More
R^B^a^aVa3 than 40 years of success. Praised and en-
dorsed by multitudes.
LIEPE METHODS. 3284 N. Ctmk Bay Ave.,
Dept. B-21. Milwaukee. Wisconsin
i •■:-. >\t
ENLARGEMENT
FRPF
lltil Just to pet acquainted,
we will beautifully en-
large a negative of your favorite Ko-
dak picture, photo or snapshot
inches FREE— if you enclose this ad
with 10c for return mailing. Informa-
tion on hand tinting in natural colors
FREE with a frame sent Immediately
and your original returned with your
free enlargement. Look over your
snapshots now and send today
free offer is limited. 1)1 V\ STLDIOS,
Dept. 1S3, US N. 15th St.. Omaha. N.l.r.
WAKE U P
YOUR
Without Calomel —
And You'll Jump LbI VCK
Out of Bed in the Bl | gj
Morning Rarin' to Go
The liver should pour out two pounds of liquid
bile into your bowels daily. If this bile is not flow-
ing freely, your food doesn't digest. It just decays
in the bowels. Gas bloats up your stomach. You
get constipated. Your whole system is poisoned
and you feel sour, sunk and the world looks punk.
A mere bowel movement doesn't getat the cause.
It takes those good, old Carter's Little Liver Pills
to get these two pounds of bile flowing freely and
make you feel "up and up." Harmless, gentle.
vet amazing in making bile flow freely. Ask for
Carter's Little Liver Pills by name. 25c at all
drug stores. Stubbornly refuse anything else.
FEBRUARY, I 939
89
Precocity Plus!
(Continued /rom page 65)
rt !u.i\ I
Lik. : little girls in
Fuan-
quiotly and happily, in .1
hull- borne in ■
I the city.
I Martha Quigley who
hildren, Juanita was
: on Juno 24. 1931,
une the pridi
1 brother and 1
ittve daughter," she exphiins
emphasis.
Her father, ownei J grocery
mark. .1 with pride at her first
tooth, at her ability when only two years
«>ld t unusually long words.
■ the whole family prac-
tically burst with joy when baby Juan-
do only theatrically minded Quig-
her movie debut.
a "natural " Hollywood, five
later, found that out. You, who
That Certain Age," have also
ivered it.
A child's behavior abroad is a reflec-
tion of his behavior home — sometimes.
icitement or fatigue can throw
"ff balance, naturally, as Juan-
But. discounting these
dons, the rule works. So, before I
give you a picture of this child at work,
let's go back to Juanita at home and
survey, briefly, the causes behind those
effects that take place outside the home.
At three o'clock every afternoon
there's a flurry of excitement in the
Quigley household. Rita, aged fifteen,
in from school about the time eigh-
teen-year-old Quentin, in from his
school, bangs open the back door with
a loud. "Hey, what's in the ice box?"
There's a squeal, a quick flash of bare
legs as Juanita, head on, meets her big
brother and sister in the hall for a mad
scramble of hugs, kisses and giggles.
The baby alligator in the backyard
must then be inspected, anr1 its face
washed again and again. Ju: ita has a
fixed idea its scaly surface is lain, old,
out-and-out dirt.
I HERE are two treats for Juanita that
inevitably follow dinner. The evening
walk and the evening story, that usually
comes from the same little story book.
When working, dialogue is learned by
her mother reading the whole scene
aloud to Juanita who, in ten minutes,
can repeat back, not only her own, but
everyone else's lines.
"Naturally," she says, giving the eye
business again, "Mother is a great help."
There is no correction of faults in
public or before visitors. Quietly, Mrs.
Quigley sits in the background, allow-
ing Juanita, unhampered, to be herself.
Sessions take place in the bedroom
Invitations to her parties are designed
and written by Juanita to the guests she,
herself, choo^'
Famous children in pictures are
lauded, praised, talked of as if Juanita
had never even seen Hollywood herself.
■. Shirley Temple once,"
Quigley said, "and just think of
the thousands of children who would
give anything just to see Shirley."
Juanita agrees with her lips. Her
.I an inner suspicion that just
iMi't nearly the thrilling-
ly hot event her mother imagines. Not
■ iig as Jackie Searl exists in the
world, at least.
Along about twilight however, comes
the event that sends visitors out the
Quigley front door, eyes fogged with
CHOOSE THE BEST
PICTURE OF 1938
Each year Hollywood watches for PHOTOPLAY'S Gold Medal Award.
Once again our readers are invited to select the winner. Vote now!
ANOTHER cinematic year has gone by
and the time has come to decide which
of all the many screen offerings will
not only be privileged to be treasured
in your memory as a perfect picture,
but will, because of that excellence, win
the outstanding annual award for merit,
Photoplay's Gold Medal.
We are always immensely interested
in our readers' voting; it furnishes a
splendid cross section of information on
"what the public wants." Though most
studio heads insist — and rightly — that
the one duty of a motion picture is to
entertain, few can quarrel with the idea
also advanced that this medium is
something more than an escapist's para-
dise. Films are playing an increasingly
important role in world affairs; they
are the greatest source of education in
the world today.
The balloting on "The Best Picture
of the Year" will be close; it always is.
Thus it behooves you to send in your
vote today so that your particular fa-
vorite will have a lead. To jog your
memory, we list on this page outstand-
ing pictures of the past year. Needless
to say, space does not permit us to list
all the superb pictures released; if your
pet is not here, vote for it anyway; it
will be counted with the rest. This has
been a controversial year. Medical
films are nip and tuck with historical
dramas; wacky comedy and sinister
crime films continue heavily in the
running. The musicals, though not so
numerous as in past years, still have
their place on any moviegoer's "must
see" list.
There are no rules in this election.
You either fill out the ballot below or
write your choice on a slip of paper and
mail to the Gold Medal Editor, Photo-
play. 122 East 42nd St., New York City.
DON'T FAIL TO VOTE FOR THE
BEST PICTURE OF 1933! The picture
that wins the most votes wins Photo-
play's Gold Medal.
OUTSTANDING
PICTURES OF 1938
Alexander's Rag-
time Band
Adventures of
Marco Polo, The
Adventures of Robin
Hood, The
Adventures of Tom
Sawyer, The
Algiers
Amazing Dr. Clitter-
house. The
Angels with Dirty
Faces
Arkansas Traveler
Blackwell's Island
Blockade
Bluebeard's Eighth
Wife
Boy Meets Girl
Boys Town
Bringing Up Baby
Brother Rat
Buccaneer, The
Carefree
Citadel, The
Cowboy and the
Lady, The
Crime School
Crowd Roars, The
Dawn Patrol
Dramatic School
Drums
Four Daughters
Goldwyn Follies
Girl of the Golden
West, The
Gunga Din
Happy Landing
Having Wonderful
Time
Holiday
If I Were King
In Old Chicago
Jezebel
loy of Living
Just Around the
Corner
Letter of Introduction
Lord Jeff
Love and Hisses
Love Finds Andy
Hardy
Mad About Music
Mad Miss Manton
Mannequin
Man to Remember
Marie Antoinette
Men with Wings
Merrily We Live
Of Human Hearts
Rage of Paris, The
Rebecca of Sunny-
brook Farm
Room Service
Shining Hour, The
Shopworn Angel
Sing, You Sinners
Sisters, The
Slight Case of
Murder, A
Snow White and the
Seven Dwarfs
Sweethearts
Submarine Patrol
Suez
Test Pilot
Texans, The
That Certain Age
Three Loves Has
Nancy
Three Comrades
Too Hot to Handle
Toy V/ife, The
Trade Winds
Valley of the Giants
Vivacious Lady
Wells Fargo
White Banners
Yank at Oxford, A
You Can't Take It
with You
Young in Heart, The
Yellow Jack
r 1
I PH OTO P LA Y M E D A L O F H O N O R B A L LOT I
I
I
GOLD MEDAL EDITOR
PHOTOPLAY MAGAZINE
CHANIN BUILDING, 122 EAST 42nd STREET,
NEW YORK CITY
In my opinion the picture named below Is
best motion-picture production released in I
the
938
I NAME OF PICTURE
NAME
ADDRESS
tears, knees bended to the genius within
the plump short body of a little girl.
It happens when Juanita climbs atop
the volume labeled "History of West-
ern Civilization" that rests on the piano
bench and her feet touch a stool placed
beneath. It happens when her absurd-
ly small hands pause a moment over
the keys and then, quickly flashing up
and down the keyboard, bring forth the
breath-taking melodies of the masters.
Tiny soldiers in bright red uniforms
seem to march bravely up and down the
rug as Juanita plays the stirring strains
of Schubert's "Marche Militaire."
Laughter floats from her fingers in "Feu
Folette."
In just another short year or so Juan-
ita Quigley will make one of the most
sensational personal appearance tours
ever made by a star. Juanita, accord-
ing to her teacher and musical experts,
will tour the world as a concert pianist.
HER adjustment from a little girl at
home, to tempestuous, fast-talking ac-
tress of the cinema, is, to me, the most
remarkable thing about her, except,
perhaps, her unbelievably long lashes.
The youngest member of the cast of
"That Certain Age," she immediately
became one of them, with equal say,
equal consideration, equal importance.
To most of the cast she was "The
Pest" and she loved it. To Jackie
Cooper she was "Old Lady." "Come
on, Old Lady," he'd say, "let's go get
an icecream cone."
To Deanna she was a friend on equal
footing, with knitting, music and the
disadvantages of seven over sixteen to
be discussed.
Occasionally, stories of her clever-
ness are repeated by Juanita, pointing
the way to rocks ahead.
"And so," she told me, "when the
producer, Mr. Pasternak, asked me for
a date seventeen years from New Year's
I just said, 'Sorry, but I don't make
engagements that far ahead.' "
Somewhere, someone along the line
has fumbled badly in permitting Juan-
ita to realize her own intuitive clever-
ness is worthy of emphasis. But, even
then, I count on her normalcy and
sound sense to pull her over the danger-
ous rocks of being a future smart aleck.
Jackie Searl, who always found a
shady seat under a location scene for
the little girl, who always saw she had a
cool drink of water, is her favorite —
her first crush.
The consideration of age is the one
and only thing that cuts and wounds
her deeply. When director Ludwig in-
vited all the children of the cast except
Juanita to a dinner and a preview of
horror pictures, she was crushed when
she found it out.
"But, Butch," he tried to explain, "I
felt you were too young for horror pic-
tures."
"Yes, well what about the dinners. I
cat, you know."
Juanita attended the next Ludwig
party. But even then she hadn't quite
forgiven him. She rose to her feet for
an impromptu after-dinner speech.
"It's been wonderful," she toasted.
"And thank you Deanna or whoever's
responsible for this dinner," she added
hurriedly, with a quick flash of the eyes
at Ludwig.
And now she's on. her golden way —
up the ladder — with more and more pic-
tures waiting. It will be interesting to
watch and follow her upward. Unless
she travels too fast for an old lady to
follow. Which wouldn't surprise me.
90
PHOTOPLAY
A NEW SYLVIA OF HOLLYWOOD BOOK JUST OFF THE PRESS • A NEW SYLVIA OF HOLLYWOOD BOOK JUST OFF THE PRESS •
Here's How To
REDUCE
Here it i- . . . the ih'w >\l\ia of Holly-
wood book you have been waiting
for. Streamline ) our Figure is another
Mme. Salvia book destined to become a
besl seller. A book that goes right to 1 1 1« *
heart of your figure troubles and gives ><>u
definite, practical helps thai will make you
even more attracts <• .
desirable.
clamorous
li
C J- f
ir
Contents
-fr
NEW STYLES DEMAND LEG
BEAUTY
- ihoo
Bulgy Calves and Ankles
Make the Legs Apj*ar
Straighter
THE BREASTS . . . Preserve
Their Loveliness
:t for the Bl
SKIM DOWN THE
WAISTLINE
I Flat
- by and Keep
Your I -
An Earins Program for
Retl .
HIPS. HIPS AWAY
■he TTiifs
- "f the
A Word about Girdles
THE CALL TO ARMS
If Tour At: ..- re Thin
Fin.:' Arm
A BEAUTIFUL BACK
Shone
That "Old Woman's Bump"
DO YOU WANT A LOVELY
NECK?
Tale"
Trim Off Fat on the Chin
Stringy and Sci raj N
PUTTING CURVES ON THE
THIN GIRL
Food ro P-.-
Liquid Health
YOU CAN STREAMLINE
YOUR FACE
Tvpe* of Face*
Krr Double Chin
. t KM
HOW YOUNG DO YOU WANT
TO BE?
Women Ore-
Age
n Still Han
Romance
ONLY $1.00
AT ALL BOOKSTORES OP FROM PUBLISHERS
reamune your ^/tcjure
BY SYLVIA OF HOLLYWOOD
Excess liit spells age in any language. Any spreading of the hips |»ui>
you in the matron's class regardless of your years. In Streamline ) our
Figure Madame Sylvia tells you liow to take off Cat and put it on « here
you want it. There's nothing impossible about it. In fact youTl enjoy
reducing this modern Hollywood way.
Remember this — all muscles of the body are \<t> susceptible to train-
ing. They can be kept or made strong and healthy, the\ can remain
weak or they can deteriorate and become flabby . . . depending upon
care and attention or the lack of it. If you follow Mme. Sylvi ss inges-
tions you will be surprised how quickly you can normalize your system
and acquire the alluring proportions yon so much admire in others.
In Streamline Your Figure Mme. S\l\ia has plenty to tell you skinny
girls. If you eat and eat and eat and still don't gain weight gel a cop)
of this splendid book and learn how the author builds up inan> of
Hollywood's glamorous stars.
Streamline Your Figure is more than a reducing book. It tells you how
to acquire beautiful legs . . . how to improve the appearance of your
face . . . how to ha\ e a lo\ ely neck ... a beautiful back and m\ riads of
other Hollywood tricks you should know about. The pages of this
book are packed to the brim with practical instructions illustrated by
32 full page photographs from life. Moreover, you can carr) out
S\l\i,i> simple instructions in the privacy of your boudoir.
Read Mme. Sylvia's new book and regain the loveliness and physical
charm that you have let
slip through your fin-
gers. The price of t hi-
new book is but $] at all
booksellers or from pub-
lishers direct.
M W 1 W>l>r \ It«M)K ( l) .
205 l.i-t IZmd Street, Ne* i ..rk. N V
prepaid, the book 5
Syrria of Hollywood. I dim Icmc M.00.
Xamr
-<
r—
<
>
o
-n
I
o
r~
t—
-<
o
o
o
DO
o
o
A NEW SYLVIA OF HOLLYWOOD BOOK JUST OFF THE PRESS • A NEW SYLVIA OF HOLLYWOOD BOOK JUST OFF THE PRESS
1/1
1/1
</)
-<
<
>
O
-n
I
o
t~
I—
-<
c
o
o
c
t/i
—i
O
m
TO
m
oo
Z
m
£
1/1
-<
t—
<
>
o
I
o
r~
I-
-<
o
o
a
O
/^
t_
c
oo
—I
o
-n
TO
m
(/>
•
WITNESSED STATEMENT SERIES:
-the Ball family has been
//
in tobacco"...
James M. Ball, like his father be-
fore him, is a tobacco auctioneer.
For 24 years he's seen who buys
what tobacco. Mr. Ball says:
"Luckies buy the finest 'center
leaves.' So I've smoked them since
1917." Most other independent to-
bacco experts also smoke Luckies.
I
•
>~
9 r
/
■i /
Easy on Your Throat -
Becau self's TOASTED
Copyncfcl 1 a* Pm Anwrtttn Tol
are you fried a lucky /afe/y ?
J w
Tobacco crops in the last few years
have been outstanding in quality.
New methods, sponsored by the United
States Government and the States,
have helped the farmer grow finer cig-
arette tobacco. Now, as independent
tobacco experts like James M. Ball
point out, Lucky Strike has been buy-
ing the cream of these finer crops. And
so Luckies are better than ever. Have
you tried a Lucky lately? Try them for
a week. Then you'll know why
WJ-/IJ /A£7\ WUO XjnJ£)W ■jmA&SO i^-Jr-JT^ LU&Q*,o2"M
3A-
m
HO IS SONJA HENIE'S NEW PRINCE C
ECOND CHANCE By N
EMILY POST Tells What's Wrong With MOVL
TYRONE POWER'S Own Story And Photos Of His South American inn
"0SIC
u f .
*
6€u4 c\u^iu{ £ufi unlfc 4v*uKrt& #!ui cJ# acJ? ^i tta
4rvsnAfW<rufitwxXiftXi«£. G£»»- i*» Wad CSuiU&juB. &JL
ux£& u^U& {Lefi. ( below)" x)a/wui2fie * a. (QxJfasHjJbdLfr
JA**ci\ oj»en-to« bojvyJLoSL i*l fiQaxJk Date*vt £idt&«A
>
QlifyivuLLeJbi a "wuut (jo-\, 'UotiA. vuu> >j»>u/Mrj .Jaifc —
sA oat $o^ c^o^Mje^-5, u>-i£ft tta <^Lax*/£ 5)utb^. (Bau-
&xa£ fa\ t^Xf^L ctrM^Jt. Xferuil u>e<iA iJLiA rfkt* aSQ.
Attviavwv^r- ! OJbycy VM. Sii^wui- /lu/4? Clli4 vllJL cax>fo-t
S>vula±, (Un^odLcJA- "\idCoSiti^ $&jtHi G\a. jpn\£exX,
£cr\ uxnwx^A uth/v /fete*' <*ut" cm*-A t±o ApioxjLi .
■np/rr«- rtin , ■ nd II iillht
vii \nn 5H4 'i < OMPAN1
• Si I oaiti Missouri
All AHOTWJ t&eToWM.
'Uoul££ f±tz >vta*ta -ftvuiAi' *&©« Xvi ^fjuvvvu^iao- CajZ^-
q\ wcxru . IAovM, libs, tlu viw; "cCiAuett£"'xi«eaa£C^.-
■6a its wtui . &caAjyi- QnctA Sxvjl a*uf C«Aa*v •&£*£ .
ftC*o- Ln. ur&JJL (Uu( -&&ixJa CAxx*&ec£ fc«C. SVuuvema
t^nuv »«Aiiic~t &X. 9nAiAt"crv\ UiliaCitu-6<./Sn*A\t" —
6t C^>vi^Lta-W«.-'&«.U>c£2-/SAo<£! WRIT! -^."CUtiti
uwuA. <&£joJL\ ,\Jct,nOit^ ^k&€ Ccm^yd^\M , St. lkTUv» ,"Mlo.
WAS A LEMON
IN THE
"for Beveral unhappy years 1 was a lemon in the
garden of love.
\\ bile other girls, no inure attractive than I,
were invited everywhere, I sat home alone.
"While they were getting engaged or married, I
watched men come anil
''\\ h\ did they grow indifferent to me bo quickly?
\\ hat was my trouble?
"A chance remark showed me the humiliating
truth. M\ own worst enenrj was mj breath. The
verj thing I hated in others, I mysell was guilt) of.
"1 rom the da) I started using Listerine Antiseptic*
. . . things took a decided torn for the 1 >< -i t < -r.
people . . . go places. Men, inter-
esting men, wealth) men admired me and took me
ever) where.
"Now, one nicer than all the rest ha- asked me
to man*) him.
"Perhaps in my story there is a hint for other
women who think the) are on the shelf before their
time: who take it for granted that their breath is
beyond reproach when a: a matter of. fact it is not."
$Listerine Antiseptic deans and freshens the month, halt-
fermentation of food particles, a major cause of moulh
and leaves the breath sweeter, purer, ami more agreeable. I M
it morning and night, and between times before business and
social engagements. It pays rich dividends in popularity.
Lambert Pbamiacal Co., 5/. Louis, Mo.
MARCH, 1939
SPENCER
TRACY
in the most romantic role
that the grand star of
"Test Pilot" and "Boys
Town" has ever played
on the screen.
HEDY
LAMARR
GLAMOROUS
BEAUTY...
YOUR SENSATIONAL
NEW DISCOVERY
Welcome her to her first
role in a Metro-Goldwyn-
Mayer hit — as an exotic
orchid of cafe society...
INA CLAIR
WALTER PIDGEON
Mona Barric • Louis Calhern • Jack Carson
Produced by LAWRENCE WEINGARTEN • Directed by FRANK BORZAGE
Story by CHARLES MacARTHUR • A METRO-GOLDWYN-MAYER PICTURE
a
In addition to appearing in the motion picture publica-
tions, this column also appears every month in McCall's,
Pictorial Review, Redbook, Look and Liberty Magazines.
"JTil* id a fctM \eitift
■ro uot4. I Hta*tk 40U.
rxaui \{i£. bofloHi of w^
liotti kedhf -fo\ Hie u*uj
tpu fuu>£ A&ipondeA to
COlUtfVM
Mickey Rooney, whose Hardy adventures have
pressed him close to our collective bosom, is about
ready for you in "Huckleberry Finn'.'.
• • • *
Rally 'round! All friends of Mark Twain this way! Think of it!
Wire in for the delights of "Huck", Jim, the Duke of Bilgc-
water, the Lost Dauphin, the Widow Douglas, Captain Brandy.
• • • •
It seems to me that the timing is perfect for the
Mickey Rooney interpretation of this great Ameri-
can story of the Mississippi folk.
• • * •
Shifting the scenery for the moment to Hawaii and
the art of waving a grass skirt, there is Miss Elea-
nor Powell, the girl born to dance, in "Honolulu!'
• • • •
Lest you think that "Honolulu" is a solemn treatise on Poly-
nesian folkways, there is in the cast that female brain-trust.
Miss Cracie Allen. ir -jr -k -k
Pause for Station Announcement: M-G-M broad-
casting the news to watch impatiently for "Hono-
lulu"; "Huckleberry Finn"; "I Take This Woman".
GIFT-OF-THE*MONTH CLUB
This game involves the use of your scissors — it is hence
known as "Shear Nonsense" If you crave a photo of Mickey
Rooney as "Huck" Finn, fall in name, address, and mail to
Leo. M-G-M Studio. Box W. Culver City. Cal.
Namt-
AJJirss
• • • •
Note: "Pygmalion". Bernard Shaw's first personally
authorized, personally written, personally supervised
production, will be presented under special circum-
stances in all the highways and byways. It is a re-
markable screen work.
• * * *
This is about the time when those New Year reso-
lutions are beginning to feel the tug. But rest as-
sured we'll keep to ours.
• • * *
Which is, to see that Metro-Goldwyn-Mayer con-
tinues to lead the way in entertainment.
• • • •
See you on the screen.
PHOTOPLAY
w
T4f
°F MOTION ***
^
ERNEST V. HEYN
EXECUTIVE EDITOR
HEYWORTH CAMPBELL
ART EDITOR
RUTH WATER BURY
EDITOR
On the Covei — Sonja Henie, Natural Color Photograph by Paul Hesse
Tyrone Power's Own Story of His South American Trip 17
With revealing notes and comments by Ruth Waterbury
Emily Post Tells What's Wrong with Movie Manners . . . Nanette Kutner 20
A fascinating analysis of Hollywood's social blunders
Second Chance Nina Wilcox Putnam 22
Beginning — the story of Marie La Tour and her sensational comeback
Play Truth and Consequences with Claudette Colbert . . Katharine Hartley 24
Second in a series— an amusing new kind of interview
Mr. Muni At Home Ida Zeitiin 26
A revealing picture of a man who lives at peace with himself
HIGHLIGHTS Sonja Heme's New Prince Charming Marian Rhea 28
Found — a partner — young, handsome Stewart Reburn
OF THIS ISSUE Hollywood, We Are Coming Lillian Day 30
Another hilarious chapter from the autobiography of Jane Lyons
"I Can't Wait To Be Forgotten" S. R. Mook 32
Kay Francis looks ahead — to happiness without fanfare
Photoplay Fashions Gwenn Walters 57
Claudette Colbert — Mistress of Ceremonies of the Spring Fashion Revue
Melvyn of the Movies Howard Sharpe 67
Continuing the vivid life of a rebellious youth — Melvyn Douglas
They're Talking About — 68
New star material sighted in the Hollywood heavens
The Camera Speaks: —
Idiot's Delight 34
Shearer and Gable go to town in a former Broadway play
Are They the Type? 36
Do you agree with the Hollywood casting directors?
Major Minors ..40
Photoplay resurrects some delightful baby pictures of the stars
Fairhaven — A Hitherto Unseen Hollywood Estate ...... 42
A magnificent "hobby," this home of Victor McLaglen's
NEWS The "Spittin Image" 44
Revealing some startling mother-daughter resemblances
VIEWS AND Youth Takes a Fling 46
A new type of rebus that takes you back to primer days
REVIEWS
Boos and Bouquets 4
Brief Reviews of Current Pictures 6
PHOTOPLAY'S Own Beauty Shop Carolyn Van Wyck 8
How Well Do You Know Your Hollywood? 11
Movies in Your Home Jack Sher 12
Close Ups and Long Shots Ruth Waterbury 13
Cal York's Gossip of Hollywood 49
The Shadow Stage 52
We Cover the Studios Jack Wade 54
Choose the Best Picture of 1938 70
Fashion Letter 74
Complete Casts of Pictures Reviewed in This Issue 96
VOL UN., No. 3, MARCH, 1939
Published Monthly by Macfadden Publications, Inc., 333 N. Michigan Ave., Chicago, 111. • Bernarr Macfadden, President • Irene T. Kennedy,
Treasurer • Wesley F. Pape, Secretary • General Offices, 205 East 42nd St., New York, N. Y. • Editorial and Advertising Offices, Chanin
Building, 122 East 42nd St., New York, N. Y., Curtis Harrison, Advertising Manager • Charles H. Shatruck, Manager, Chicago Office • London Agents,
Macfadden Magazines, Ltd., 30 Bouverie St., London, E. C. 4 • Trade Distributors Atlas Publishing Company, 18 Bride Lane, London, E. C. 4 • Yearly
Subscription: $2.50 in the United States, $3.00 in U. S. Possessions and Territories, also Cuba, Mexico, Haiti, Dominican Republic, Spain and Pos-
sessions, and Central and South American countries excepting British Honduras, British, Dutch and French Guiana. $2.50 in Canada and Newfound-
land. All other countries $5.00. Remittances should be made by check, or postal or express money order • CAUTION— Do not subscribe through
persons unknown to you • While manuscripts, photographs and drawings are submitted at the owners' risk, every effort will be made by this organ-
ization to return those found unavailable if accompanied by sufficient 1st class postage, and explicit name and address. But we will not be responsible
for any losses of such matter. Entered as second-class matter April 24, 1912, at the post office at Chicago, 111., under the act of March 3, 1879.
Copyright, 1939, by Macfadden Publications, Inc. Registro Nacional de la Propiedad IntelectuaL
BOOS
AND
Paul Muni, immor+alizer
of great men, turns to
the Mexican patriot for
his next characterization
in Warners' "Juarez,"
with Bette Davis as ill-
fated Empress Carlotta
■ hotoplay announces that prizes will no longer be awarded for letters
appearing on this page. Unfortunately, some of our readers have not
played fair with us, inasmuch as they have submitted and accepted checks
for tetters which have won prizes for them in other magazines. On the
other hand, many of our readers have looked upon this as a contest de-
partment and for that reason have failed to send in their spontaneous and
candid opinions concerning the motion- picture industry, its stars or pic-
tures. It is our aim to give the public a voice in expressing its likes and
dislikes concerning this great industry. This is your page. We welcomt
your vims. Photoplay reserves the right to use gratis the letters sub-
mitted in whole or in part. Letters submitted to any contest or department
appearing in Photoplay become the property of the magazine. Contribu-
tions will not be returned. Address: Boos and Bouquets, Photoplay,
122 East 42nd Street, New York, N. Y.
GABLE VINDICATED!
IN wishing Clark Gable the best of luck,
Photoplay was the sounding board for
America. In presenting Mrs. Gable's per-
spective. Photoplay cleared up a problem vital
to the millions of Gable well-wishers and gave
the lie to the countless ill-founded rumors con-
cerning the Gables' separation. Because it did
two things without ever exceeding the
bounds of good taste, it is a milestone in movie
writing. This is the sort of story that makes
fans see the human side of the star without
<ing from his magnetism — rather than de-
ng, it makes them realize that his personal-
ity oil tin haped by problems as
human and as pressing as their own.
Robert Finlay,
Glen Allen.
SHINE ON. BRIGHT STAR
UNE way to keep on being a BOB (Box Office
make only one picture a year. My
point is proved by Paul Muni. Of course, he is
a magnificent actor — no one can gainsay that:
on the other hand, there are other really able
actors in Hollywood. But. frankly, one does get
tired of seeing them so much. Too much, to
my mind, are four pictures a Near. Mr. Muni
the public and even the most hard-boiled
critics in rapture with each picture, I insist it
is because he is smart enough to know that. alas.
familiarity breeds contempt; at least, it breeds
a disinclination to "walk a mile for a Muni."
We are all waiting breathlessly for "Juarez"
because, while we vividly remember "Zola," it is
almost two years since we have seen the dis-
tinguished Mr. Muni's map on the screen.
Amos Ilk,
Pittsburgh, Pa.
CAGNEY AND THE CRITICS
mAY I register a protest against the film,
"Angels With Dirty Faces'.'"' Although the idea
behind the film was quite evidently to point
out the lesson that "crime doesn't pay" it failed
in this purpose and instead accomplished quite
the opposite — it glorified the criminal. The
weak-kneed priest never for a moment tempted
the sympathy of the audience. By the way, Pat
O'Brien looks beautiful in those clothes, but he
underplayed his part. Saps were made out of
the officers of the law. The boys were so tough
that in real life their gang would have been
broken up years before the story opened — and
don't you think the cops would have been wis,e
to that old bide-out?
Human nature is a mixture of good and evil —
with plenty of reason for it to go mostly evil,
but please remember that the majority of people
are law-abiding and fairly trustworthy and
anxious to be normally true to their principles.
The ending of the film, making the criminal "go
yellow" for the sake of impressing the boys,
provided a phony climax to a very doubtful title.
Uplift — I'm asking you?
M. S. Smith,
Omaha, Nebr.
S<y^i/
JAMES CAGNEY in the picture, "Angels With
Dirty Faces," plays the difficult role of a gang-
ster who must, by the sheer power of his acting,
win the sympathy of his audience. His vivid
portrayal of Rocky Sullivan is something to re-
member, even to the occasional "hunching" of
his shoulders. His manner of winning his au-
dience and injecting a warm human quality
into his unsympathetic role smacks of perfec-
tion and would have been impossible to obtain,
had it been played by someone of lesser ability.
By the sheer power of his acting Cagney has
taken a despicable personality, softened it, given
it color and when at last, for moral purposes, he
dies nobly, it is to leave the audience with tear-
wet eyes and a sense of regret that the picture
has ended and so also has Rocky Sullivan!
Mrs. H. J. Rlngler,
Cuyahoga Falls, Ohio.
OUR READERS TAKE OVER
I HIS letter is written especially for J. D. of
Salt Lake City who wrote such an untrue state-
ment recently about Joan Crawford. Publicity
is not the very breath of life to her, as you put
it. Joan is always trying to please her many
fans and so, naturally, her name is important
enough to keep in the news. Every actress is
ambitious to succeed. Naturally, they like lots
of publicity. Joan Crawford is one of the finest
actresses I know of. Don't you think that her
separation from Franchot is her business and
that we should not even stop to wonder about
the matter at all, for that is her problem to
figure out in her own way. How would you feel
if someday Joan came up to you and said "J. D.,
what is it about me that you don't like?" I'm
sure you would feel like the smallest mouse.
Ginger L. Bagnall,
Morristown, N. J.
I'M glad that "J. D." of Salt Lake City has
come to the defense of Franchot Tone. Surely
there are thousands of fans who admire Mr.
Tone for his splendid acting, his air of good
breeding and his beautiful and moving voice.
It has upset some of us to see the pictures of
Joan and Franchot in the various magazines. In
each she was looking away from him, or devot-
ing all her attention to the family pooch, with
Franchot playing a lonely third. Franchot
looked as if he realized her lack of interest all
too well. I'm sure he, as well as his public, is
relieved that he is free.
Ann Moore,
Albany, N. Y.
I'D like to ask "J. D," the writer of a recent
letter, a question. How can you, who know
nothing about the Crawford-Tone marriage ex-
cept what you've read and heard, presume to
say what broke it up? Be fair! I'm a Crawford
fan. an ardent one, but that doesn't mean I am
going to hurl a lot of silly charges at Franchot.
I admire him, too, as an actor.
Who told you Joan is a flop at the box office?
Don't let one person speak for the nation. I'm
not being catty, but if you want to be honest
with yourself you can't help knowing that her
pictures have always been a bigger draw than
Franchot's. Come on. wish them both luck;
they're both grand people.
Laura Steccone,
Oakland, California.
(Continued on page 10)
PHOTOPLAY
"He was an outlaw.. .a killer. ..his life
was the epic story of a lawless era!"
He was hunted, but he was human ! And there
was one —gentle yet dauntless— who flung her
life away— into his arms!
The spectacular drama of the nation s most
famous outlaw and the turbulent events that
gave him to the world!
"Jesse, you're a hero now! But this
will get into your blood! You'll turn
into a filler and a wolf!"
"I knoW' but I hate the railroads,
and when I hate, I hade to do some-
thing about it!''
starring
Photographed in TECHNICOLOR
TYRONE POWER
HENRY FONDA
NANCY KELLY
RANDOLPH SCOTT
and
Henry Hull • Slim Summerville
J. Edward Bromberg • Brian Donlevy
John Carradine • Donald Meek
John Russell • Jane Darwell
Directed by Henry King
Associate Producer and Original
Screen Play by Nunnally Johnson
A 20th Century-Fox Picture
^^Hfe
MARCH , 1939
EWS
Director John Ford (top) holds a pow-
wow with the Indians in Wanger's
"Stagecoach," the pioneer drama
featuring Claire Trevor (center), in
the femme lead, and young Tim Holt
• ANGELS WITH DIRTY FACES— Warners
D ignlficent
-
ne .t gangster
(Pat O Brien) and tli-ir
Ian.)
ir ARKANSAS TRAVELER, THE-Paramount
f in itinerant
printer. - lance to Will R rcnmora
■ ic widow \\ :
| : .
Irving < I'ainily (arc. (Dec.)
ir ARTISTS AND MODELS ABROAD-Paramount
i multitude ■ ■
a CMt in top performing condition and enough story to keep tilings
BEACHCOMBER, THE-Mayflower-Paramount
BURN 'EM UP O'CONNOR-M-G-M
CHARLIE CHAN IN HONOLULU—
20th Century-Fox
CHRISTMAS CAROL, A-M-G-M . .
GIRL DOWNSTAIRS, THE-M-G-M
GOING PLACES— Warners .
GREAT MAN VOTES, THE-RKO-Radio
KENTUCKY-20th Century-Fox . .
LAST WARNIN8, THE— Universal
NANCY DREW— DETECTIVE— Warners
PACIFIC LINER-RKO-Radio
PARIS HONEYMOON-Paramount . .
SMILING ALONG-20th Century-Fox . .
STAND UP AND FIGHT-M-G-M
SWING, SISTER, SWING-Universal . .
THEY MADE ME A CRIMINAL— Warners
TOM SAWYER, DETECTIVE-Paramount .
TOPPER TAKES A TRIP— Hal-Roach-United
Artists
VIVYAN DONNER'S FASHION FORECAST-
20th Century-Fox
WINGS OF THE NAVY-Warners 52
ZAZA— Paramount 52
rolling. Jack Benny is the theatrical producer who trie- by hook
and crook to keep his troop of beauties in Paris one jump
of the police. Joan Bennett, Mary Boland and the Yacht Club
rupply the fun. (Jan.)
• BLACKWELL'S ISLAND-Warners
Y >u remember the excellent work done by John Garfield in
"Foui Daughters. " This time he is the hard-hitting reporter who
venal prison conditions* Rosemary Lane ifl the policeman's*
mi loves him. Victor Jory, Stanley Fields and Dick Purcell
are in the cast. Packs plenty of punch. (Feb.)
BLONDIE-Columbia
Beginning :i series based on the comic strip followed by millions,
11 uld be mildly important. Penny Singleton is Blondie;
Arthur Lake, the frustrated, misunderstood husband, D
Larry Simms is Baby Dumpling; Gene Loclchart. Dagwood's boss.
Be sur< kids — you'll all laugh. (Jan.)
• BROTHER RAT-Warners
and frankness, this tale nf throe cad
Virginia Military Academy departs from the usual style of campus
drama Wayi ddie Albert and Ronald Reagan have
I J. me Wyniiin and Jane
I graduating, and winning the ball game. Everything is
the end. A to mey. (Jan.)
CAMPUS CONFESSIONS— Paramount
Betty Grable, Eleanore Whitney and Hill Henry, perennial Col-
Camper around, but the plot centers about Hank
■ib.ill star, who proves that athletics belong in any
college curriculum.
• CITADEL, THE-M-G-M
liy the M-C-M unit in England, A. J. Cronin's touching
novel era powerful -Uidy of an idc. ill-tie young doctor
poverty until .in easy way out pr< f, La later
regenerated by nil Deal friend and his loyal wife. The sure finesse
of Robert Don.it, Rosalind Russell and Ralph Richardson makes
it doubly important for you to sec tlus. (Jan.)
Consult This Movie Shopping
4. u i d e a n d S a v v Your T i in e 9
M o n e y a n d ii i s position
INDICATES PICTURE WAS ONE
OF THE BEST OF THE MONTH
WHEN REVIEWED
• COWBOY AND THE LADY, THE-Goldwyn-United Artists
Ricli girl, poor boy again, but as gay as your new hat and done
in the usual Sam Goldwyn styles — which glitters. Merle Oberon
is a kind of cultured British Carole Lombard. Gary Cooper is in his
element as the shy cowhand who marrie- her. Patsy Kelly is there
for laughs and it all amounts to a charming interlude in your
workaday life. (Feb.)
■k DAWN PATROL, THE-Warners
A -tirring drama of war in the air without a female in sight, this
is continuously thrilling, stunningly photographed and logical, if
tragic. Errol Flynn. David Niven. Basil Rathbone. Donald Crisp
and a host of others build up a gallant picture of friendship and
heroism that will have you thoughful — and thankful that Warners
remade this picture. (Feb.)
• DOWN ON THE FARM-20th Century-Fox
Having attained the eminence of an A-rating, the Jones Family
continue the attempt to catch Americana on the screen and succeed
admirably. The family's divertissements on Aunt Ida's farm are
enlivened by a cornhusking, an election and various country
activities that should amuse you no end. (The cast is as usual.)
(Dec.)
• DRAMATIC SCHOOL-M-G-M
For U ve the theater, this is a handsome and well-
done piece of education. Luise Rainer and Paulette Goddard are
the budding Bernhardts; Gale Sonderguard. Al.m Marshal. Lana
Turner, Genevieve Tobin and other troupers lend able support.
Laughter and perhaps a tear — and watch Goddard! (Feb.)
DUKE OF WEST POINT, THE-Small-United Artists
Gosh, do the cadets hate Louis Hayward, fresh out of Cam-
bridge (England) — accent, physique and all. There is the usual
to-do about a widowed mother, the big game, and The Girl (Joan
Fontaine). Richard Carlson does some great work. (Feb.)
EVERYBODY'S BABY-20th Century-Fox
The Jones menage has a new member in this rollicking episode.
A quack eeds to bring up the baby scientifically and
the net results of this hygiene are that the new grandchild succeeds
in getting the Family in a heck of a mess. The cast is the same as
usual and good, too. (Feb.)
FIVE OF A KIND— 20th Century-Fox
One cannot help feeling that Mr. Zanuck is resting on Papa
Dionne's laurels The five little Quints toddle about, squeal and
sing cunningly; the story about a faked birth of MXtUpletS is stupid.
Claire Trevor, Cesar Romero and (can Hersholt make up the cast.
(Jan.)
• FLIRTING WITH FATE-M-G-M
Hire J.e E. Brown is the leader of a troupe of actors who
tangle with Leo Carrillo's South American banditti on a trailer trip
to New York. Leo has his eyes on Steffi Duna, a dancer. Joe's
attempts at suicide (to get insurance) will have you in a gale of
laughter. (Feb.)
GIRLS' SCHOOL-Columbia
A disappointingly heavy story of a poor sad girl (Anne Shirley)
in a rich snobbish school. Nan (irey is the meanie. Noah Beery. Jr.,
apathetic plumber, Kenneth Howell the poet. Something
slipped here. (Dec.)
• GRAND ILLUSION-World Pictures
Set in the grim background of German prison camps, this
French film (with English subtitles) builds a tragically honest
picture of the human side of war. Jean Gabin. Pierre Fresnay and
■ Stroheim are only a few of the superb character delinea-
tions. Fascinating. (Jan.)
(Continued on page 97)
PHOTOPLAY
• BETTE DAVIS a
ings You Her Crowning Triumph!
BETTE DAVIS .'DARK VICTORY
GEO. BRENT-HUMPHREY BOGART
Geraldine Fitzgerald • Ronald Reagan
Henry Travers • Cora Witherspoon
Directed by EDMUND GOULDING
Screen Play by Casey Robinson • From the Play
by George Emerson Brewer, Jr. and Bertram
Bloch • Music by Max Steiner • A First National
Picture • Presented by WARNER BROS.
• DARK VICTORY
Never a story of love so exquisite! . . . She smiled
at the cost, and bravely paid the reckoning
when her heart's happy dancing was ended
MARCH , 1939
SIZES SMALLER
AHAT is just what the Thynmold
PcrJorjIeJ Rubber Girdle will do for you!
But >ou won't believe such a drastic change can be
possible unless sou actual!* try ii >ourself. That is
s\h> sse want to send you a THYNMOLD Girdle
and Brassiere to test for 10 days at our expense.
Ii tou cannot be tilted with a dress smaller than
you normally wear ... it won't cost you a penny'
PP*"' SLIMMER instantly!
■ If >ou want the thrill of the year, make this
simple silhouette test! Stand before a mirror in
jour ordinary foundation. Notice all the irregulari-
ties caused by bumps of fat . . . notice the thickness
of your waist . . . the w idth of your hips. Now slip
into a THYNMOLD Girdle and Brassiere and see
the amazing difference. 'I he outline of your new
figure is not only smaller, hut all the ugly, fat bulges
hase been smoothed out iti't^qily.'
Test THYNMOLD for 10 days at our expense!
■ Make the silhouette test ihe minute you receive
vour THYNMOLD. Then wear it 10 days and make
the mirror test again. You will be amazed and
delighted. If vou are not completely satisfied . .
it I HYNMOl I> doei not corrcci yout figure faults
and do c\er> thing you expect, it will cost you nothing.
Mail Coupon for Free Folder Today!
f| THYNMOLD is the modern solution to the
uljnnjt waistline and broad hips. Its pure Para
rubber is perforated to help perspiration evaporate
. . us soft inner lining is fused into the rubber
for long wear and the special lace-back feature
•Hows ample adjustment for change in size. 1 he
overlapping Brassiere gives a support and freedom
of action impossible in a one-piece foundation.
MjiI <t,ut>on for tllu\trated futdir uuJ
complt tt mttmh of our J0-rfj\ trial offtr!
/nufpntaua^
IRDLE5
D I R F C T PRODICTS CO. IN <
Ml IM .M 4. 41 last Cnd St.. New York. NY
KinilK send me illustrated folder describ-
ing TMnmold Rubber Girdle and Brjs-
wirc. sample i>! perforated material and
full details of sour 10-day Trial Offer.
"Three Smart Girls Grow Up" — Nan
Grey, Deanna Durbin and Helen Parrish
— and they've grown up wisely and
well. If you follow their advice you'll
find that beauty insurance pays
dividends in freshness and charm
PGO0TOPLLAYS
CARoiy^ ^aa/ wyck
PROP.
Sjmr ■
tMreo
THREE SMART GIRLS GROW UP
— And Deanna Durbin. Nan Grey
and Helen Parrish are smart enough
to realize that now. while they are still
in their teens, is the time to lay the
foundation for beauty in their later
years.
These girls possess the natural, radiant
beauty which youth alone gives. We all
know that there's no substitute for the
fresh, glowing skin, clear eyes, the grace
and vibrant buoyant spirit which is the
: il gift of youth; but we do know
that it's never too soon to start protect-
ing these vital gifts to beauty.
At sixteen, your skin doesn't need
waking up and the contour of your face
and throat doesn't require a muscle
tightener. A good night's rest wipes out
every bit of fatigue. But at twenty-five
and thirty, fatigue lines and those faint
wrinkles that come after days of hard
work and carelessness in beauty care
take a good deal of coaxing, soothing
treatment to obliterate. Beauty insur-
ance starts at sixteen, so that it will still
be yours at thirty.
I watched the three girls play a scene
on the set of "Three Smart Girls Grow
Up" at Universal and noticed that even
before the cameras they wore very little
make-up. Naturalness was the keynote
of their beauty and healthy gaiety. It's
a smart young girl who knows that be-
ing natural is her best bet at all times.
"I don't use any make-up at all off
screen.-' Deanna told me seriously, "not
even nail polish. There's plenty of time
for that when I'm older."
Nan Grey, being the oldest of the
three, wears only the lightest brushing
of lipstick, but she uses very good judg-
ment in applying it so that it gives just
a soft touch of color instead of a heavy
smear.
Deanna's light-brown hair had lovely
chestnut high lights. She told me that
she very faithfully brushed her hair fifty
strokes in the morning and fifty more at
night with a good stiff brush. "It seems
like a lot of trouble sometimes when
I'm tired, but it's like any other habit
you get into — it gets to be a part of your
routine and no matter how much you
may feel like skipping it, you keep right
ahead doing it. Which is a good thing."
It's extremely important for you, too,
to get yourself into the habit of brush-
ing your hair every day and into the
right habits of exerc'se and living and
thinking, so they'll stay with you all the
days of your life.
The hairdress Deanna wears is very
simple — her hair is softly curled and
fluffed out at the neck and behind the
ears. Two or three little curls are pulled
out at each temple to frame the face.
Very simple and natural and much more
becoming than an elaborate coiffure.
PHOTOPLAY
LlKE Helen and Nan and all other
smart young girls, Deanna knows that
her health is important and follows the
simplest exercise and diet rules to keep
healthy.
"I love to swim," she told me between
scenes, "and I walk a great deal when
I'm not working. And I'm crazy about
bicycle riding, too.
"Mother has one unfailing rule for
me, though, and she insists that I ad-
here to it strictly, no matter how busy
I am. I have to rest for at least an hour
every day, preferably in the late after-
noon, whether I'm working or not."
The value of that daily hour's rest
can't be overemphasized, either for a
movie star or for any other young girl.
The habit of rest and relaxation formed
at sixteen lays the foundation for poise
and calm nerves at twenty-five or thirty
— the basis of all beauty, charm and
good health.
"Let's have lunch." said Nan, "I'm
starved. We all are." All three have
very healthy appetites, but choose their
food carefully and with a view to its
proper value. Deanna adores carrots
and said she ate them at almost every
meal. Helen favors vegetable soup and
Nan makes no secret of the fact that
creamed spinach is one of her favorite
stand-bys. With a lamb chop or a small
steak, topped off by a fresh strawberry
sundae, they lunched sanely and well.
No wonder their skins are satin smooth
at an age when so many girls are hav-
ing skin difficulties because of unwise
indulgence in sweets or heavy foods.
It's easy, simple beauty insurance.
Start it early and you will enjoy it late.
You can be just as smart as they are and
collect the same dividends — beauty,
freshness, charm.
More youth and beauty— i was
so impressed by the sane beauty rules
of the Three Smart Girls that when 1
ran into seventeen-year-old Nancy
Kelly at Twentieth Century-Fox the
next day, I launched into the same dis-
cussion of preserving your beauty while
you still had it to preserve. Nancy plays
Tyrone Power's wife in "Jesse James"
and she, too, has definite ideas about
keeping youthful freshness.
"It's a tendency at seventeen, I think,"
she said, after due consideration, "to be
careless of posture. It's so easy to
slouch and lounge too much. Right now
I'm slender enough, so it doesn't mat-
ter, but it might be a different story
five years from now
"Because 1 think correct posture is
one of the most important considera-
tions in a woman's appearance, not only
as to figure but effects on health as well,
I've made a noble resolve to get the
habit of keeping my tummy 'tucked in.'
The fact that it's practically non-exist-
ent now ought to encourage me to keep
it that way."
JEAN ROGERS listened attentively to
Nancy's wise word nodded her head
in complete agreement and added her
contribution. "I believe that a limited
beauty routine faithfully followed is
the best way to keep beauty for life.
It's certainly better than following
some complicated regime for a few
months and then getting bored with it
and letting your grooming go haphaz-
ardly for a while."
Skin, hair and figure are all impor-
tant. Jean said earnestly, and the thing
to do is to figure out your minimum
individual requirements and then let
nothing entice you from your beauty
path. "I wash my face thoroughly with
a mild soap and give it several rinsings
with iced water before going to bed. I
do this no matter how late it is or how
tired I am. Going to bed with powder
and the day's accumulation of dust may
not make a perceptible difference the
following day, especially in your teens,
but it's so easy to get that good habit of
cleansing your skin thoroughly."
I EARS of early care are essential to
preserve the beauty and health of the
average busy woman, since a girl's
later years are usually very exacting
and hectic, what with rushing off to
the office, putting in a hard day's work
and rushing home again to get ready
for the evening's date.
It's not too soon to start in the good
work of preservation in your very early
teens. You wash your face, of course,
morning and night with a good soap
and thoroughly rinse it afterwards.
Applying a light conditioning cream
several times a week will help preserve
the youthful freshness of the skin.
It's too soon for you to start using
make-up, except perhaps a faint touch
when you start your first evening par-
ties. Thorough cleansing is the most
important factor, along with a correct
diet, to prevent the skin blemishes
which sometimes trouble a young girl.
From the ages of sixteen to twenty,
a more studied routine is important.
Cleansing cream is necessary morning
and night and afterwards your skin
should be washed well with soap and
water to remove all traces of the cream.
After you have rinsed your face with
warm water, follow it up with cold. A
skin stimulant or tonic is advisable if
your skin shows a tendency to oiliness.
A light foundation should be used, but
your make-up should be applied very
delicately and imperceptibly.
Always use clean powder puffs to
pat on your powder or take cotton pads
so you can discard them afterwards.
If you're using rouge, blend it care-
fully so it won't be noticeably artificial
and wield your lipstick with a light
hand. A little mascara and eye shadow
will enhance your appearance for eve-
ning parties, but be discreet in the use
of this, too.
Remember that the keynote of your
make-up and of your whole personality
should be naturalness — no posing or
artificiality of any kind should be su-
perimposed upon the natural charm of
youth. Remember, too, that in every-
thing you do you're building towards
years to come, so be sure that that
foundation is carefully thought out and
rigidly followed and you'll reap the
benefit of all your care in the loveliness
you'll carry on to later years.
Odds and ends for the beauty-
conscious— To soften your skin,
have your beauty operator remove your
make-up and apply a layer of cream
to your face while you're under the
hair dryer, as they do in desert resorts
like Palm Springs, so the cream will
soak in and combat the effect of the
hot dry air beating upon your face from
the dryer . . . Paint your smart metal
necklaces with colorless nail polish so
they won't tarnish or stain your neck
... To keep your long nails from rip-
ping through the ends of your gloves,
turn the gloves inside out and paste
little strips of adhesive tape over the
tips of the fingers . . . Smooth a touch
of cream into your lids before applying
your eye shadow so that it will blend
easier and be more lustrous. . . .
% m cctf-t/omTw/lvM/fi ufxfL
"You bet we do," girls say
r ♦ down RUNS this w«Y . .
Cot dov/n silk
Runs come easUy ^.^
loses elasnaty. *»* LuX.
ityof)0«'stockiag
v,OlET HEATH
College Junior
AT C0UEG6
ALMOST ALL
THE GIRLS tUX
SKWS
»-•#
"&\
EVEN WITH THE
sTOOPlNG AND
STRAIN OF
STOCKING OONT
POP RUNS NEARLV
SO OFTEN WlTVrLUK
y*4
so,a:yaV:» Tom m
•W *.. . mv stocking
the way " *'*PC ,on9er
less often!
V*.
,TrS BASY <o ?< f -
everywhere- ckings S"e
sav.es eU^y-« back
und" *" kuns don", pop »
too shape. Runs ulkah
often! Soaps -»'*» ^
a„d cake-soap tubb'ng
i,'S wh> <" i»'y "* D
saves elasticity and cuts down RUNS
THERE IS NO AVERAGE WOMAN—
■&&M
Boos and Bouquets
(Continued jrom page 4)
Every woman is a law unto herself— women's sanitary needs
differ on different days and what's best for another woman
isn't necessarily right for you. But only you can tell which
t> pe or combination meets yolk needs best . . . each day!
So Kotex offers "All 4" types of sanitary protection^
Regular Kotex* Sanitary Napkins — in the familiar blue box.
Junior Kotex* — in the green box. Somewhat narrower than Regular, for
days when less protection is needed.
Super Kotex* — in the brown box. No longer or wider than Regular, yet
its extra absorbency provides extra protection.
Fibs,* the Kotex Tampon — the new- in\ isible protection that's worn
internal!) ; requires no pint or belt. Only Fibs are Quilted for greater safer)
— greater ease of insertion — greater comfort in use. Recommended for
the final da\s, particularly. *Tntt Mutt Ret. U. t. r*. c*.
Vj^dlStJU.— KOTEX IS MADE FOR YOU!
CAT LIKES "BROTHER RAT"
O up-to-the-minute movie fans this
picture may be a bit stale, but to me
fresh as a daisy — here are the
daisies.
When the characters have such au-
dacity as tlio.se in the movie. "Brother
it's catching. I am at the college
age and thrill at getting new angles in
letting olT steam. Priscilla Lane and
Wayne Morris were characters that
every girl and boy dreams they, too,
might be during their college days.
They played their parts perfectly, so
that wc, who can imagine ourselves
playing their parts, spent a most enjoy-
able two hours with our treasured
dreams coming true. "Zany" is the best
sobriquet I know for that would-be
gentleman, Johnny Davis. He's plenty
of laughs. Summed up, the picture cer-
tainly had that certain yumph.
"Brother Rat" also brought back
cherished memories of a most interest-
ing visit at Virginia Military Institute.
Virginia Ricketts,
Charlotte, N. C.
MAY I HAVE YOUR AUTOGRAPH?
HE public is aware that Nelson Eddy
goes to some trouble to avoid the well-
known autograph hounds.
It was during the Los Angeles County
Fair at Pomona that I received my first
opportunity to see my favorite actor.
The laud-speaker system in the grand-
stand, usually before the races begin,
announces the presence of some of the
celebrities and requests that the public
espect their wishes and refrain from
bothering the stars. As a result of this
courtesy, the actors feel free to attend
such events and the public benefits by
viewing various favorites in-the-real.
With this in mind, I stood among the
boxes and stared at Mr. Eddy. I de-
bated just what to do under the cir-
cumstances, realizing that this would
probably be the only occasion I might
have to secure his signature. There I
remained, uncomfortable and doubtful,
with my race program in my hand.
People began to notice me and urge me
to ask Mr. Eddy, but my embarrass-
ment increased.
Someone informed
Mr. Eddy that I
wanted his auto-
graph. He re-
marked that he
had been watching
me for twenty
minutes, waiting
for me to get up
enough nerve to
ask him. With
these words of en-
couragement and
to the amusement
of the crowd I
stuttered out my
request, which
was granted.
When Mr. Eddy
passed me on the
way out, he smiled,
took my hand and
said good-by,
much to my hap-
piness and satis-
faction.
My experience
proves beyond
doubt that my fa-
vorite isn't con-
ceited and that his
reasons for refus-
ing such requests
must have been
because of possible mob violence. If
approached in a reasonable manner, I
am assured that Mr. Eddy and many of
the other stars would feel more inclined
to sign autographs.
Evelyn Jowski,
Los Angeles, Calif.
THE CUSTOMER IS ALWAYS RIGHT
lOUR Cal York's comments on Garbo
are becoming increasingly obnoxious.
Evidently the gentleman (?) has some
personal grudge and it gratifies him to
exercise it in his column. Garbo's re-
turn may not interest him, but, to many
of us, it is a long-awaited event. There
are many pictures that I enjoy, but the
only time I experience that thrill of
anticipation is when a new Garbo pic-
ture is due in town. And it hasn't di-
minished one iota since that memorable
day many years ago when I first saw
"The Torrent."
Martin Renner,
Brooklyn, N. Y.
I LIKE your magazine very much. It
would be perfect except for the lack of
two things. (1) A page for recipes and
new ideas in entertaining. (2) Interior
Decoration and the latest in furniture.
Even though we can't live or entertain
like the movie stars, we all enjoy read-
ing about them. It makes them more
human when we know their likes and
dislikes in food, furniture, etc.
I think the photography is excellent
in Photoplay, especially for the Fash-
ion Department.
Mrs. Geo. R. Lutz,
Oaklyn, N. J.
THE FABULOUS FLYNNS
IT'S absolutely priceless the way the
Errol Flynns have preserved their mar-
riage in the face of the thousands of
rumors that have been circulated about
them, while, on the other hand, a half-
dozen so-called "perfect" Hollywood
marriages have failed, such as the Har-
mon Nelsons, the Richard Arlens, etc.
On the surface there may have been
some caure for doubt that this couple
could survive. He. breath-takingly
handsome, ad-
dicted to the wan-
derlust, independ-
ent; she, vividly
beautiful, sophis-
ticated, glamorous
and temperamen-
tally unpredicta-
ble. I say on the
surface, for who
knows what is un-
derneath? Cer-
tainly, I venture
to say there is
strength, both of
mind and charac-
ter.
The point seems
to be that, in order
to have your mar-
riage succeed in
Hollywood, have
that town try to
break it up via the
printed and verbal
route; that is, if
you can take it!
Three cheers for
Mr. and Mrs. Er-
rol Flynn — and all
the best wishes in
the world.
Ellen Barkdull,
Philadelphia, Pa.
The domestic Gene Raymonds
attend the showing of "Sub-
marine Patrol," curious to see
what a rival studio is doing
PHOTOPLA
HOW WELL DO YOU KNOW YOUR HOLLYWOOD?
Hum '
Priscilla Lane in "Yes,
MyDarling Daughter"
GRADE yourself five points for every
one you guess right. If you get
sixty or less, you don't keep up with
Hollywood. If your score is eighty, you re
doing quite well; and if you have a score of
one hundred, you know as much as PHOTO-
PLAY. Check up on page 78.
I. In the World War he served in the
British Intelligence and has written a spy
story suggested by his experiences when he
worked in Belgium behind the German lines:
Basil Rathbone
Donald Crisp
Edward Arnold
Lewis Stone
-e
ke of
2. The starring role
"Beau Ges-e wi 1 1 gc to:
Leslie Howard John Garfield
Douglas Fairbanks, Jr. Gary Cooper
3. This glamour girl once starred as a
hockey player at the University of Wa-
ton:
Carole Lombard
Dolores Costello
Myrna Loy
Ann Sothern
4. In his return to the screen shortly, this
actor will play a dual role:
Louis Calhern Gavin Gordon
Charles Chaplin Al Jolson
5. Two of these stars are part Indian:
Gale Page Wendy Barrie
Mary Astor Ann Sheridan
6. This screen star once managed Maxie
Rosenbloom before the latter decided to
turn actor;
George Raft Mae West
Humphrey Bogart Lynne Overman
7. I ma Kid" he"! sing two num-
ber, one in English and one in Spanish,
accompanying hi — 3eif en the 9- '3':
Pat O'Brien Patric Knowles
James Cagney Randolph Scott
8. This actor wrote the famous song, "The
World Is Waiting for the Sunrise":
Ralph Morgan
Eddie Albert
Gene Lockhart
Gene Autry
9. This dramatic actress once had a job
as a movie theater usher:
Claire Trevor
Frances Farmer
Barbara Stanwyck
Fay Bainter
10. The National Speech Teachers Asso-
ciation of Southern California awarded this
actress a plaque for having the most beau-
tiful speaking voice in Holly ■■
Irene Dunne Claudette Colbert
Loretta Young Joan Crcwford
II. For his role in "Broadway Cavalier'
j had to learn how to milk a cow:
Tony Martin
Robert Taylor
Wayne Morris
Fred MacMurray
12. This actor's fan mail has shown the
biggest advance of any Hollywood star dur-
Charles Boyer
Robert Donat
Tyrone Power
Mickey Rooney
13. He is one of Hollywood's most rabid
camera fiends:
Don Ameche Clark Gable
Henry Fonda George Brent
14. In "Plane No. 4" this actor will return
to the screen:
Wallace Ford John Mack Brown
Richard Barthelmess Charlie Farrell
15. Not Lewis Stone, but arc-
played the Judge in the first :
M-G-M's Judge Hardy series:
Warner Baxter Lionel Barrymore
Adolphe Menjou Edward Ellis
Walter Connolly Edward Arnold
16. Of these so-called "Screen Newcom-
ers," one played in a number of films when
a youngster:
John Garfield Nancy Kelly
Priscilla Lane Eddie Albert
Jeffrey Lynn Louise Campbell
17. According to an exhibitors' poll, Box-
Office Oueen for the fourth successive year
is blof
Carole Lombard Jean Arthur
Joan Bennett Madeleine Carroll
Shirley Temple Bette Davis
18. Of these movie "hea only
an eligible bachelor:
Melvyn Douglas Joel McCrea
Robert Donat Ronald Colman
John Garfield Richard Greene
19. A member of a famous family has
recently joined United Artists to work for
Sam S
Alfred Vanderbilt Patricia Ziegfeld
Diana Barrymore Blythe
John Jacob Astor James Roosevelt
20. She was voted the nicest star to work
oy Hollywood fan magazine photog-
raphers:
Alice Faye Joan Crawford
Maureen O'Sullivan Bette Davis
Virginia Bruce Norma Shearer
Guests may not say so, but you'll read in their
eyes admiration for your table and its gleaming
silverplate. Yes. the hostess who chooses King
Edward is happy— and budget-uise too. For the
beauty of this gracious pattern is superbly
matched by its value. But judge them both your-
self. A lovely, useful Nut and Bonbon Server is
specially priced at 20c to accpaaint you with the
pattern. A?k for it wherever fine silverplate is
sold — or mail the coupon today.
NATIONAL SILVER COMPANY
NEW YORK • CHICACO
LOS ANGELES
National Silveb Company, 61 W. 23rd St.. New York, N. Y.
Enclosed is 20c jor genuine King tduard Xut and Bonbon Ser. e, 754)
ARCH
939
II
A new Photoplay department — giving
tips and advice hot from the Holly-
wood lots — for all amateur movie-
camera enthusiasts who want to buy,
make and show their own home movies
BY JACK SHER
HE'S some technical advice from
Hoi \prrts on how to
makf better home movii I
. tells
us that one of the most pptfc— ble Bawfl
in home movies is the lifting.
The most common error in lighting is
the failure to provide at least one "hard"
source of light in shooting interior
• s Ordinary bright incandescents
and photofloods usually have frosted
bulbs which give off a slightly diffused
light. This "fuzzy" light, while excellent
for the soft side of the picture, tails to
throw the sharp-edged, distinct shadows
which are so necessary in giving depth
to the scene. It is imperative for good
results to use at least one "hard" spot-
light. Haller uses three spots and four
floodlights in shooting his home movies
in color, but the amateur using black and
white film will not need this amount.
Most effective way to use "hard" light
is to place the spot at the thfee-quarter
position, behind and slightly to one side
of the camera. One or more photofloods
can then be used to give roundness to
the soft side of the subject; with one or
more additiuual photofloods to light up
the background and give the scene
depth. For unusual effects, the spots
can be used to illuminate the subject
from directly above or below; and for
high-lighting profile shots a spot can be
directed from above or behind the sub-
ject. The utility of spots can be greatly
MOVIES
ui itoivc name
•/
L
increased by the use of adjustable
shields to cut out undesirable portions
of light. In shooting exterior scenes the
same general rules should be followed,
using the sun for the hard light and re-
flectors or cardboard or metal for the
soft illumination. The best time for
shooting exteriors is mid-morning or
mid-afternoon.
From producer Mervyn LeRoy on the
M-G-M lot comes solid advice on how
to make the people in your home movies
film most realistically. The easiest way
to do this, according to producer LeRoy,
is to give your people "natural" things
to do — things they do in everyday life.
Particularly should this method be used
with children. Never make little Bob-
bie do anything that doesn't seem logi-
cal or easy to him. Ancther important
thing is continuity. The action must be
clearly understood by the audience.
I HIS month's 16 mm. releases are many.
Pathegram has a one reeler of the
Dionne Quints called "A Day At Home,"
the only 16 mm. film of the Dionnes on
the market. This company also has a
new film of the geyser at Yellowstone
called "Old Faithful."
Castle, the leader in 16 mm. output,
has a breath-taking short — "Snow
Thrills" — of skiing, skating, tobogganing.
Castle's "News Parade Of 1938" is al-
ways its biggest and best picture. It
covers every big event that happened
in 1938. Also, with the World's Fair
coming up in New York, you'll scoop
your neighbors by showing them Cas-
tle's "Preview Of World's Fair." For
those interested in big-game hunting,
Castle's latest is "Camera Thrills In
Wildest Africa" and for lovers of milder
thrills, a fine film called "Hawaii."
HARRISON films are releasing for the
home the seldom -seen foreign pictures
of the last two years. Paul Strand's
Mexican film, "The Wave," Rene Clair's
"A Nous la Liberte," Hemingway's
"The Spanish Earth." Also "Maedchen
In Uniform" and "The Life and Loves
of Beethoven." All these films can be
rented at an amazingly low rate and a
substantial cut in price will be made if
you rent six films at one time.
Garrison also has several Bob Bench-
ley shorts, very excellent at $1.50 per
reel. But we think their high-light pic-
ture is one called "Death's Day," a film
made from the beautiful "left over"
shots from Sergei Eisenstein's, "Thun-
der Over Mexico."
Eastman Kodak, Gutlohn, Bell and
Howell and Film Exchange have added
to their tremendous stock of 16 mm.
film this month. Eastman, as you know,
adds new Disney shorts each month.
Film Exchange has an unending supply
of new comedies and short travel and
dance subjects.
As for new equipment, from Univer-
sal Camera Corp. comes the announce-
ment of a new low-priced 8 mm. camera
series to be known as the World's Fair
Cine 8 Cameras. Features of the new
cameras will include a new type op-
tical finder, a quick closing cover, which
halves loading time, a new type gov-
ernor to insure a long run of film at uni-
form speed . . . General Electric ex-
posure meters are now supplied with
improved rapid calibration scales. . . .
A new 1000-watt lamp, enabling 16
mm. projectors to throw a larger pic-
ture on the screen, will also soon be
placed on the market by G. E. . . .
A single-legged tripod is now out. You
can get it from the Whitehall Specialty
company in Chicago. Increasing the
case of splicing, a new fountain pen Film
Emulsion remover is now available.
."&?*
ILL BE HOLDING
MY BREATH 'TILL
I SEE YOU
again!
SWELL
IDEA !
Ltf
A
m
t&f.
PEPSODENT ANTISEPTIC
Sweetens the breath • . .
keeps it sweeter long after!
• There's 'nothing that adds to your self- confidence like knowing
that your breath is sweet for critical close-ups!
And it's so easy to keep your breath sweeter and fresher the
pepsodent antiseptic way! Take just a moment, three times a day,
to gargle and rinse your mouth with this golden, tangy-tasting
liquid. Just swirl it around . . . rinse it out . . . and presto! . . .
enjoy a new spick-and-span freshness!
The best thing about pepsodent antiseptic is that you draw
dividends from it long after you use it. Yes, pepsodent not only
sweetens your breath . . . but in addition, helps keep it sweeter!
BUY PEPSODENT
ANTISEPTIC TODAY !
PEPSODENT ANTISEPTIC keeps your
breath Sweeter for Critical Close-ups !
"MistfP1
1. BECAUSE OF CHL0R-THYM01 Pepsodent
Antiseptic kills germs in seconds even when
diluted with 2 parts water. No other leading brand
can truthfully say this!
2. BECAUSE OF CHL0R-THYM0L tests show these
results. Gargling with Pepsodent Antiseptic
diluted with 2 parts of watet immediately reduces
the bacterial count in the mouth by as much as
97V, and that reduction still amounts in many
cases to 80% after as long as 2 hours! No other
leading brand can truthfully say this!
3. BECAUSE OF CH10R-THYM0L Pepsodent
Antiseptic makes your money go 3 times as far.
When diluted with 2 pans of water, it is as
effective as other leading advertised brands used
full strength. No other leading brand can truth-
fully say this!
12
PHOTOPLAY
CLOSE UPS AND
WELL, by gosh, there is at last some-
thing in Hollywood that I don't un-
derstand . . . here I thought I was
the wonder girl, knowing all, comprehending all
. . . but now I am stumped. . . .
What's got me all mixed up is the way Twen-
tieth Century-Fox is casting the most precious
star on the screen . . . the darling of the whole
world . . . the most unspoiled personality in
pictures . . . Miss Shirley Temple. . . .
The sheer accident of one personality and one
studio getting together fascinates me, anyway,
as it relates to a star's eventual success or fail-
ure in Hollywood . . . for instance, nobody was
deader than Spencer Tracy before Metro-Gold-
wyn-Mayer signed him . . . not that Metro al-
ways understands its people either . . . Hedy
Lamarr had to go to Wanger's to get her chance
. . . Twentieth Century -Fox has done a most
magnificent job of handling and developing Ty-
rone Power and Sonja Henie, Alice Faye and
Don Ameche . . . but what has happened to
that studio and Shirley? . . . Usually so smart,
how have they become so mixed up in the han-
dling of their greatest little star? ....
Admittedly, Shirley Temple today isn't an
easy problem of casting . . . she is getting into
the awkward age . . . somehow or other a scene
where she can do a tap dance or sing must be
worked into all her scripts . . . but is it any
harder to create such situations in a plausible
way for Shirley than it is to work singing scenes
into Deanna Durbin's pictures or skating rou-
tines into Sonja Henie's? ....
The appeal of Deanna Durbin is that we have
been permitted to see her grow up . . . progressed
with her, by way of pictures, through lots of
growing girl problems . . . we have enjoyed the
same kind of amusing-by-proxy experience
with Andy Hardy . . . Andy buying his first
tux down in Washington was as thrilling to us
as to Andy . . . watching Andy take it from
Virginia Weidler couldn't have been more fun to
us if we had slapped his ears down ourselves . . .
Deanna gets the benefit of leading men like
Herbert Marshall and Melvyn Douglas . . . strong
casts . . . real productions . . . but what of Shir-
ley?
Here is my idea . . . we want her shown
to us in such a real and human way that if we
are old enough we can think of her as our own
child and if we are young enough regard her as
our friend . . . there must be human, natural,
childish things for her to do . . . lovely modern
child's stories for her to bring to us on the
screen. . . .
Shirley is a rich little girl now, to be sure, and
an extraordinarily gifted one ... to get a story
that is really like her takes a lot of doing . . .
but suppose Twentieth Century gave her the
problems of a rich child . . . she could still have
tears and tempers and loves . . . think of young
Gloria Vanderbilt, for example, routed around
between her mother and her aunt, having to
read her mother's court battles in the daily press
. . . that kind of a story might be worked out
for Shirley . . . even young heiresses cry when
they lose their dogs, or get dragged into divorce
proceedings between their parents, or get sent
to the wrong school ... it seems to me there
are so many things that Shirley could do, and
beautifully . . . but there is danger if she is
kept in that vaudeville-dancing-radio back-
ground much longer, a world which so few chil-
dren that any of us ever know inhabit . . . that
would be a tragedy. . . .
One exciting thing that has been happening in
the movies lately . . . and very charming and
about time it is, too ... is that a few groups of
pictures are giving us the continuity of serials
LONG S/,
BY RUTH WATERBURY
or comic strips . . . Deanna Durbin may bear
different names in the different stories she ap-
pears in but her producers have so completely
wrapped those stories about her private person-
ality that the central character is always just
Deanna . . . the Hardy s and to some lesser ex-
tent the Jones family grow before our eyes . . .
we wish the Jones would grow a bit more . . .
while love and other things are happening to
Andy Hardy not a thing happens to Jack Jones,
that is, in terms of maturity . . . personally I
wish it could be worked out so that there would
be a certain day or a certain month, say the fifth
of March a.id then the fifth of June, that you
could set down in your date book as the night
the Jones or the Hardys would be at your neigh-
borhood theater. . . .
Those families have become so much friends
of mine that I should like to know just when I
could see them. . . .
And while I'm on that subject another hope-
What's happening to Shirley Temple, Hollywood's
greatest box-office star? She's reaching the awk-
ward age, causing casting problems. Miss Water-
bury makes some interesting suggestions on what
might be done about Temple films of the future
ful sign seems to me the fact that Hollywood is
now recognizing the seasons . . . this year there
were definite Christmas pictures . . . only two.
I will admit, but at least a step in the right di-
rection . . . "The Christmas Carol" and the re-
issue of "Snow White and the Seven Dwarfs"
. . . but up until now the only season that
Hollywood has admitted existed (I suppose be-
cause there aren't any four seasons in cinema-
land) has been the football season . . . the bril-
liant Zanuck has now come forth with "Ken-
tucky," a horse epic ... I don't mean a Western
. . . to time with the racing season (Hollywood
knows about that, too, what with its love of the
Santa Anita and the Hollywood tracks) . . . but
I don't see why we shouldn't have special Easter
pictures and some fine story about Thanksgiv-
ing, though nothing about the Pilgrims and New
England if I get my way about it, and all the
other simple holidays that we average people
celebrate with such fun, but which the movie
producers seem to forget exist ... I think if
the studios would get this much closer to us and
our interests they wouldn't find us staying home
so often of nights to listen to the radio. . . .
I wonder if anyone but me has noticed that
it seems to be an exclusive Hollywood fashion
custom for the couples who go about together
to dress alike . . . Taylor and Stanwyck pat-
ronize the same tailor and have their coats and
riding outfits cut to identical lines ... so did
Crawford and Tone ... so do Gable and Lom-
bard . . . almost every girl in Hollywood goes
in for plain, masculine shirts, either of plain
(Continued on page 86)
MARCH , I 939
13
//
V, ^ "
gutter Girl..."
JJorn in this old tenement. Raised on this dirty street. Me and my kid brother,
just a couple of what you rich guys call gutter rats. But my heart's all right. It's
clean and it's honest and it's true. Maybe I don't know big words and fancy
stuff, but I know enough plain ones to tell him what I think of him, this polo
playing good-for-nothing with all his soft talk and smooth ways and his heart
all eaten up with the shame of what he and his millions have done to us . . . the
one third of a nation he wouldn't dirty his gloves to touch . . ."
14
PHOTOPLAY
Strong words, brave words and yet she loves
this polo playing multi-millionaire — and he
loves her — and their love story is drama as real,
as human as the story of this girl's home — the
New York slum, which bred the "Dead End
Kids", the brutal background of "Street Scene".
Harold Orlob presents
SYLVIA SIDNEY
•••one third
of a nation
a
with LEIF ERIK SON
Directed by DUDLEY MURPHY • Screen Play by
Oliver H. P. Garrett • A PARAMOUNT RELEASE
The "East Side Gang", the toughest bunch oj
kids ever to braul their uay into your heart —
MARCH, 1939
15
0 i l/lO
{((jlC FOR YOUR I'lMM ks
7 ' ' Lur
. . .VOI IK SI IT. . .YOUR UNTRIMMED COAT
l'i i scribed l>\ Paris, okayed 1 » n Mem ^«>i k. Mrorn with enthusiasm b) Bmarl Bollywood, fine silver fox
enlivens both spring's da) and evening costumes. To In- sure thai yours is trulj fine diver l<>\. look
I. >r tin- I I I » I Ft AL name, stamped on the leather side of each pelt, it assures you of luxurious skins
thai are beautifull) sill ered, and thai hai •• lasting loveliness. \t smart stores throughout the country .
FEDERAL SILVER FOXES 9U-A**? ,<w^*<^cn
16
PHOTOPLAY
'YRONE
>OWER
OF HIS
UTH AMERICAN
TRIP
which he took himself, see next pages.
Revealing notes and comments by RUTH WATERBURY)
7 HIS whole story came about very innocent-
ly. Last summer when Tyrone Power told
me, as a great secret, that he was planning
to take a vacation in South America, I asked him
if he would keep a diary of his trip and give it to
me for Photoplay.
Tyrone kept faith, on both scores — that is, he
did keep a diary and he did give it to me for
Photoplay. He would do just that, because he
is a swell guy who always lives up to his word.
(A fairly unique combination in Hollywood, in-
cidentally.)
However — and, kiddies, what a big, romantic
"however" that one turns out to be — between
the time that Ty made that promise and his re-
turn to the United States, reports on his South
American journey became, for movie enthu-
siasts, more interesting than any other movie
story of the late winter, and hotter than a stove.
The reason for this is very chic, very trim-
legged and her name is — Annabella.
It seems that Annabella turned up in South
America (divorced the while from her former
husband, Jean Murat), just at the time Tyrone
did.
Whether or not her being in Brazil when
Ty was was prearranged cannot be told. Or
more exactly, if you think that the only person
who could tell (that is, our Mr. Power) has any
intention of telling, then you might just as well
go back to playing with your dolls, on account
of you are too young and innocent to be reading
Photoplay, anyhow. However, the Power diary
given to you here is a record of those days and
some of those dates, and there is such a thing as
reading between the lines.
For instance, below, in plain type, you will find
Tyrone's diary just as he wrote it. In between
those lines, you will find some notes I have put in.
My reason for interpreting Mr. Power to you is
because I am quite sure you will agree with me
that he has left out most of the things his tre-
mendous public wants to know. Which, as a mat-
ter of fact, is both the sensitive and correct thing
for him to do. Item one, he is too well-bred a
young man to go bandying about a young lady's
name in public, no matter how many questions
he may be asked concerning her. Item two, he is
too decent and modest a fellow to tell, for him-
self, how the South American throngs mobbed
him at every airport; how girls in absolute clus-
ters tagged him through hot, sunny streets so
that eventually all the police had to be called to
rescue him. He feels, icith some justice, that if
17
Here's once, at least, when the word "scoop" is no exaggeration—
the most engrossing, wanderlust-provoking story of the new yea
**«7M
*>?><
A/9/ty
Shot of the Santa Maria volcano near Guatemala, from above clouds
he were to set down these things, particularly for
publication, that he would sound too much like
a conceited prig. On the other hand, he regards
crowds of autograph seekers neither as nuis-
ances nor as something his due, but rather as
pleasant people ichom he wants to be nice to in
return for their liking him.
Take, jor instance, the very first entry in Ty's
diary. He writes:
Tuesday
WE took off from Burbank Airport prepared
for a seven-week vacation trip to South and
Central America. Bill is going with me and he
reports that our passports, tickets, luggage and
cameras (we are taking three) are all safe in
the plane. We've both been looking forward to
this trip for so many years that I'm out of the
world with excitement over our really starting.
5 A. M: we're down in Mexicali. Bill and
I step out of the plane for a cigarette and to
stretch our legs. We get a shock from the cold.
The airport thermometer registers 34°. What an
amazing country. When we were last at this air-
port six months back, it was 120 in the shade,
if you could find any shade.
9:30 A. M: we're down to refuel at Hermo-
sillo, Mexico. Some of the children who greeted
us here last time reappear. They happened to
hear over the radio that we were on this plane,
so they came down again to wish me luck on my
trip, also to see if my Spanish had improved, I
suspect.
1:30 P. M: we arrive at our first planned stop,
M.i/atlan. Stopped here because I was for-
tunate enough to secure a lease on an island a
few miles off the mainland and wanted to take
pportunity to arrange for the construction
of a shack, also to investigate or explore the
nd for a suitable building site.
Note, what Ty doesn't tell you is tliat Bill is
Bill Gallagher, a tall, lanky chap icho is his best
friend, his most loyal companion and officially
his secretary He tags Ty around more faith-
fully than his shadow and a lot more busily.
Anything tiiat you might want to know about
Monsieur Poirer. Bill knows — and doesn'i Cell.
As for that island business, Ty definitely has
a yen for islands. He undoubtedly will build a
house on this particular island, since he has long
been dreaming about just such a residence
rrlierc he can get away from telephones, radios,
and people and just lie in the sun and read.
As he illustrates, bi/ his second diary entry,
that's his idea of a really fine day.
Wednesday
OPENT a glorious day fishing, swimming and
climbing over every part of the island. So tired
that after sundown we didn't do a thing but
take a shower and go to bed.
Thursday
03T a contractor and a carpenter out to the
island and discussed the type of shack I want
built. The contractor unearthed an old well
near by which solves the fresh water problem.
Back to Mazatlan at noon where we had lunch
and boarded the plane for Mexico City.
Down at Guadalajara, Mexico, got our first
taste of the type of reception that the people
were to greet us with wherever we stopped. We
could not imagine so many .people would be on
hand to greet us.
5:30 P. M: arrived Mexico City. Mr. Pierce,
in charge of the Mexican Tourist Bureau, met us
at the airport and, because of the crowd, ar-
ranged a police escort to get us to our hotel.
That last entry is a prize bit of understate-
ment and get that "us" business. There were
nearly a thousarid fans at each of those airports,
of which 992 in each crowd were of the female
sex and, if Bill got any looks, they were un-
doubtedly dirty ones. Not that Bill isn't a dar-
ling, and possessed of a way with the women,
too, but anyone who goes anywhere with a
movie star soon discovers himself becoming
either invisible or hated. Maybe that's why he
could give me such a graphic picture of what
happened at that airport. Ty's technique at air-
ports is to try to escape notice by walking
around the tail of the ship. This didn't deceive
the seiioritas, however. They yelled at Ty in
Spanish and in English, loud and lovingly. They
begged for his autograph, his kisses, his necktie
and his handkerchief. After a moment or two,
he capitulated and walked over to the fence
tliat separates actual flying fields from the out-
side world and, grinning at the throng, gave his
autograph — and nothing else. At Mexico City.
if Mr. Pierce hadn't got the police, Ty probably
■ 'n't have got away irhole. As it was, he
lost several buttons and the handkerchief. Not
that it threw him off pace. Look at the scholarly
reactions he went in for next day.
Friday
OPENT the morning at the Museo Nacional with
archaeological, natural history, anthropological
and Mexican historical sections occupying our
time. Most interesting. ("Editor's note: wow!)
Took off for Guatemala City at 1:30. After
flying above the clouds for three hours we
swooped down on a little town called Tapachula,
at the Guatemalan border. This town gave us
our first real sample of tropical weather. Step-
ping out of the plane was like walking into a
steam bath. Grounded for an hour because of
the fog.
It finally lifted and let us go on to Gua-
temala City. Mr. DesPortes, the American Am-
bassador, met us and took us to the Legation
where we met the other members of his famLy
and staff. After dinner they took us for a tour
of the city.
It may be told now that Ty's trip which he had
planned purely for pleasure actually worked it-
self out into being a bit of a good-will mission,
not alone for his studio, but for the entire mo-
tion-picture business. Before he left Hollywood,
Twentieth Century-Fox had arranged for him to
visit the American Legations in each of the
South and Central American countries he
toured.
For Hollywood, as much as our own Govern-
ment in Washington, has the wish to bring all
the Americas closer together.
Can you fancy a better good-will ambassador
to the Americas than this handsome boy with
his excellent manners, his keen intelligence
and his genuine love of Hollywood and all
its works?
Saturday
UUT of Guatemala City on a three-day tour of
the surrounding country. Weird and wonderful
experience.
The roads were crowded with Indians — men,
women, children — all carrying tremendous bur-
dens on their backs and heads. Our guide said
the Mayan Indians often carry a load as heavy
as 125 pounds on their backs for distances of as
much as a hundred miles. Nice work and I
hope I can't get it.
Stopped for lunch in Antigua, the former
capital.
An earthquake destroyed the city in 1775,
creating ruins that are terrific and beautiful.
The town is in a glorious setting anyhow,
about five thousand feet above sea level, with
three great volcanoes jutting up against the sky.
After lunch we visited a coffee plantation. It
certainly is a complicated process getting that
coffee off the bush and into the breakfast nook.
Thrilling drive back, over two mountains a
mere 13,000 feet high, to a little village called
Chichicastenango.
18
Sunday
OUNDAY and market day in Chichi. (Nobody
bothers to call this place by its full name.) I
purchased a Mayan coat that I'm going to use
as a smoking jacket when I get home.
We visited one of the churches, too. The In-
dians have adapted their own gods to their
adopted faith and it isn't unusual to see a statue
of the Blessed Virgin dressed up in Indian gar-
ments and sometimes carrying a mirror in her
hands.
Visited the old Mayan ruins in the afternoon
and were fortunate enough to see an Indian
tribal dance. Grand stuff.
Ty discovered in Chichi that Indians aren't
movie fans. Not one of them recognized him, so
he went around unmolested. He won't admit
what a great relief this was — but Bill admits it —
and soulfully.
Monday
STARTED back to Guatemala City, driving
over a road that had been cut through solid
rock to a town called Solola on the shores of
Laka Amatitlan. After lunch we continued to
Guatemala City where I made an appearance at
the local Fox theater. Spent the evening as a
guest of the American Legation. Tonight ends
the first week of»my vacation, the most exciting
I've ever spent.
Tuesday
LEFT at 8: 30 A. M. for Cristobal, coming down
at San Salvador, Tegucigalpa, Honduras and
Managua, Nicaragua en route. Because of bad
weather missed the scheduled stop at San Jose,
Costa Rica, and had to make an emergency
landing at David, Panama.
Pouring rain. Into Cristobal, finally, met the
local press and had dinner at the Strangers
Club.
After dinner drove over to the Canal and
saw the locks.
Wednesday
LEFT at 9: 00 A. M. for Guayaquil, Ecuador.
Met Count Theo Rossi on the same plane. He's
the Italian speedboat king and a grand fellow.
He's headed for Rio, too, which is good news.
Came down at Cali, Columbia, just before cross-
ing the equator and the citizens turned up at
(Continued on page 81)
I. Joan Crawford's bridal gown is wrong on either of two counts
2. Joan's hostess was at fault here, says Mrs. Post
3. Connie should have told a white
TELLS WHAT'
From our foremost authority on
etiquette — a fascinating analysis
of Hollywood's social blunders
BY NANETTE KUTNER
A RE movie manners mostly wrong?
/ \ ret thought so, hut, after listen-
/ \ [ng to Emily Post, foremost arbiter of
good taste, whose blue book of "Etiquette" in
r, has sold over eight \
thousand copies, I have definitely changed my
mind.
use Hollywood has become, more and
the model which America uses as the pat-
tern for its own behavior, Photoplay persuaded
U) give us a few much-needed point-
ers, by explaining how Hollywood and its pic-
err m the matter of good manners.
Mrs. Post rightly feels that, during thi
ten years, motion pictures have vastly improved.
In sound effects, m photography, in stones and
nd acting, but," she observes, "the ac-
20
curacy of the society shots often appears to be
neglected. We see drawing rooms so ridicu-
lously large they can only be likened to the
Grand Central Terminal. We hear conversa-
tion that no one to the 'manor' born would
dream of using."
According to Mrs. Post, the worst offense
committed against good manners is that of pre-
tentiousness. She says, "Good manners are the
outward expression of an inward grace. You
can't get them any other way. Probably that is
why Shirley Temple, in that very first feature
picture of hers, had charm that few can equal."
Sometimes the mistakes Hollywood makes are
not too serious, but usually they are ludicrous,
and far too often they set bad examples for mil-
lions of ardent movie-goers. So, whether or not
you think that your own manners or those of
Hollywood could stand some improvement, we
think it will pay you to hear what Mrs. Post has
to say.
TOR example, in 'The Cowboy and the Lady.'
someone talks about the 'second butler.' Evi-
dently the dialogue writers didn't stop to think
that a butler is like the captain of a ship. There
can be only one captain; likewise, there can be
only one butler. You can have as many
footmen as you wish, but only one
butler.
"Incidentally, I think the best screen
butlers are those played by Eric Blore
and Alan Mowbray. And, granting due
respect to William Powell, whom I con-
sider a fine actor, no persons of position
could employ a mustachioed butler.
"Nor does a maid, like the one Lo-
retta Young plays in 'Private Numbers,'
wear her curls flying. She keeps her
hair very short, smooth, neat. Besides,
no lady's maid ever wears a cap and,
unless she is obviously English, no wait-
ress or parlor maid wears one."
Mrs. Post paused for breath and I
handed her a batch of stills and candid
shots chosen at random from the files
of Photoplay. She studied each, in
turn. These were her criticisms.
Number One was the wedding scene from
"The Shining Hour." Mrs. Post said that Joan
Crawford's bridal gown was wrong on either of
two counts.
"If this is her first marriage she ought not to
be wearing colored flowers; a maiden should be
dressed in pure white. On the other hand, if
this is her second marriage, the colored flowers
are appropriate, but her veil is out of place.
Onlv at her first wedding may a bride wear a
veil."
Number Two, also from "The Shining Hour,"
shows Miss Crawford drinking tea and balanc-
ing a plate of cake upon her lap.
Says Mrs. Post, "This is not the fault of Miss
Crawford. When serving afternoon tea little
individual tables should be placed next to the
guests to hold plates or ash trays. The hostess
who expects her guest to balance things on her
knees should choose her friends in the circus
rather than in society! Also, Miss Crawford
was certainly made to appear inordinately hun-
gry by the huge chunk of cake wished upon her.
At tea time a hostess serves only the daintiest
of sandwiches and cakes."
Mrs. Post considers Constance Bennett one
of the best-dressed women on the screen.
•. Mrs. Zanuck commits a faux pas "■ s,
ONG WITH
"When she plays an actress she looks like an
actress and when she plays a lady, she looks the
part. But," emphasized Mrs. Post, "rather than
seem as bored as she appears in Picture Number
Three (see illustration), Miss Bennett would be
far less rude if she composed a white lie and
told her partner that she couldn't dance because
she'd hurt her neck!"
Number Four was a candid shot of Mr. and
Mrs. Darryl Zanuck going to a preview. The
spectators are dressed for midsummer weather
and so is Mr. Zanuck: but Mrs. Zanuck, in con-
trast to her light dress and open-toed sandals
(which, Mrs. Post claims, are only suitable at a
beach) is wearing a heavy white fox cape.
"If the weather is hot," Mrs. Post said, "'heavy
furs lose their beauty because of their distress-
ing unsuitability.
"Vulgar clothes are always those that are too
elaborate for the occasion. I am told that at a
California tennis tournament one important
star wore ermine and another, a silver fox coat,
while the general display of jewels would have
dimmed those in the windows of Cartier. The
well-bred woman does not wear too many
jewels in public places, not only because public
display is considered bad taste, but it is also an
unfair temptation to a potential thief.
"Riding habits, no matter whose, both on the
screen and off, are always the test of tests.
There is no halfway about them: they are right
or they, like spelling, are completely wrong.
Anything suggesting slant pockets, or eccentric
cuffs or lapels, or a pinched-in waist is taboo.
(Continued on page 95)
12. Wrong for a "formal table"
10. "Typically Hollywood"
<*
•second chance
THERE is certainly something about Holly-
wood which docs things to a person. But
what 11 ctly, and why. is
.is consomme with the can still
around it.
And it is on account of feeling kind of con-
by all that has recently happened to me in
the aforesaid atmosphere, that I have decided I
would write the true story of it myself, instead
of being rushed into giving any statement to the
Of course, when the big news broke re-
porters started swarming around me like spa-
ghetti around a spoon — you know, hard to con-
trol and practically impossible to get rid of.
Miss La Tour, how did it happen'.'"
"To think of Marie La Tour having such an
experiem
"Couldn't you let me have an exclusive story?
I sure used to admire you a lot in the silent
The sob-sisters got in my hair pretty well, too.
But the reporter who really decided me on
writing this piece about myself was a little feller
who didn't think I could hear him when he re-
marked, "Cheest! And I thought she was dead!"
The point is, I have not been dead but retired,
although I admit that with some people it is
hard to tell the difference: and this whole busi-
ness began back on Long Island with me selling
my show place. I called it a show place because
if Jim, my late husband, hadn't bet both show
and place on the last race he went to, why we
would of built a more modest home. Well, any-
ways. I decided to sell it because, after Jim died,
it turned out that the house was about all he
had left. And here I and Betty, my grand-
daughter, were — rattling around in that enor-
mous mansion all by ourselves except for eight
or ten old friends from my vaudeville days who
were at leisure. They were all grand people who
would never of come down on me like that if
they'd known I wasn't rich any more, because,
you see, I and Jim used to help them out while
times were good. And when times started to
slip I kept the fact secret and went on helping.
But at last both we and the house simply had
to move. And it was then I got the idea of
taking Betty out to Hollywood and trying to
get her into pictures.
I had just enough money on hand to travel
with, so when we got an offer for the house I
decided to go right along and leave the final
winding up of things to Jack Jelliff. Although
the house was up to its chimneys in mortgages,
there would be enough change coming to me to
keep us for three months, but I had to be deli-
cate with JellifT about the deal, because he was
an old and particularly clear friend who had
been on the four-a-day until he broke a knee
and couldn't hoof any more. Since then we had
been giving him a little every month and I didn't
want him to suspect how I stood because he
lly needed it.
"Jelliff," I told him in the grand manni
will appreciate your help about the house and
you a power of the dotted line, to close.
There will be a little dough over, which you
can send on to me."
' ie." said Jack, blinking at me with those
kind dog-eyes of his, "are you sure you're
going to be all right out there? I hate to see
you go without a man's protection. It's a regu-
lar Judas-horncd-bctailmcnt to me!" he says,
which was JellifT's strongest language.
"After all my years in pictures?" I says lightly.
"After all the years you ain't been in pic-
tures''' he answers, troubled. "However. I sup-
pose with your name and all your money you
might get things your own way but . . . I'll miss
you, Marie, and I'll do the best I can on your
"You always did make smart deals, JellitT." I
told him, which was the truth. "If you'd held
hold of your money as easy as you grabbed it
off, you'd be rich today!"
"As long as I've got your friendship, Marie,"
he says, "I'm rich."
WELL, it wasn't a week later before I was
standing in a hotel w-indow looking down on
Hollywood Boulevard while Betty pulled on a
demitasse hat consisting of one wild rose tugging
at an elastic leash. Betty, I thought, was cer-
tainly different from other young girls, being a
natural redhead and the henna rinse in it purely
a matter of form. But aside from her beauty,
Betty was different from the average because
when a girl has been raised in a show place
filled with show people, she is bound to have
her rough corners rounded off smooth while
young. And, though still of the age when their
elders are generally objects of gentle pity, she
was already wise to the fact that she did not
know all the answers. And to crown every-
thing, Betty was a wonderful, natural-born cook,
which Gawd knows is a positive freak these
days! What swing music is to some kids, the
sound of something frying was to Betty. In-
deed you might say she was kind of a Fritter-
bug.
In fact, so far as I could see, Betty had about
everything and she was as close to being my
own baby as a grandchild can come, I having
raised her by bottle and by hairbrush after my
son and his wife were killed in that auto acci-
dent. While the money lasted, I'd given her
everything she'd asked for and she still didn't
know how our finances stood, for I had always
let Betty think her father left her provided for
and told her not to bother her head with sordid
details. Now, when she had finished with her
hat, Betty came over and put an arm around
my waist.
"Hollywood!" she says looking down at the
Boulevard. "It doesn't seem real! I'll bet it's
changed a lot since you saw it last!"
"Well," I says, "I've been seeing it in the
newsreels for the past twenty years, so it's no
more of a shock to me than the New York sky-
line would be to a Kansas farmer. But you
go on out and lap it up. Me, I'm going down
to Goldmont and tell Al Goldringer what a
lucky bird he is to be getting you!"
"Okay, Gram!" she says excitedly. "Do you
really think he'll test me? I know you're an
old friend, but still "
"He was- my producer on thirty pictures," I
explained, "and I've always told him what he
was to do!" Betty kissed me and went off,
laughing.
Well, I will say that when half an hour later
I set out for Goldmont I felt as confident as a
confidence man who knows he has a cinch setup.
To begin with, Al Goldringer and I were- friends
of long standing and plenty of sitting-pretty.
He was the only executive left that I knew, out
of the old crowd, but this single bet was, I fig-
as good as it was lonesome. I knew Betty
would get her chance as soon as I asked for it,
but I hadn't written in advance because old
friends can usually settle things fist to fist so
much better. So I sailed into Goldmont with a
grand manner and found myself at a desk that
looked like the Fifty-sixth Street police station.
When I asked for Al, the bull behind the win-
dow hardly glanced at me, but went on scrib-
bling notes and listening to telephones.
"Mr. Goldringer isn't with us any more!" he
says. Well, this, as you can imagine, stopped
me for a moment. Then I asked who was filling
Al's size number twelves?
"Mr. Rossman," says the uniform.
"Not Mr. Benny Rossman!" I denied emphat-
ically. He just nodded and let it go at that.
I could see at a glance that this doorman wasn't
of a helpful nature and right then I needed help
on account if I had one enemy in the world it
was Benny. Years ago when Benny was nothing
but a Broadway manager, and mighty mean to
his chorus girls, what with giving them even
less pay than clothes, and rehearsing them with-
out salary, I was one of the ladies who formed
the White Kittens, a kind of B. C. of the C. I. O.
and we licked him with a strike and he chased
me out of his office and always held it against
me for reforming him, which in a way was only
natural. He swore then he would never give
me work in any production of his again, and
he didn't either. Even after I became a star in
the stillies he kept trying to get back at me and
here I stood in his lobby and he in Al's shoes
and what was I to do?
Well finally I thought, as the
poet says, "Time is the great
heeler," so even if Benny is a
heel, maybe Time has marched
on it, and so forth. Beside
which he was the only party in
town I knew to speak to, even if
we weren't speaking. So I went
back to Bulldog Joe behind the
cage and said I would like to see
Mr. Rossman and that I was Miss
Marie La Tour. Well, the name
was just another Smith to the
doorman, but by this time I had
learned that in Hollywood the
younger generation don't recall
much and it is only in the East
that we eclipsed stars still hold
our public position. Out in
Hollywood they are wise to the
fact that a setting star is like a
setting hen — they have both laid
an egg.
WELL anyways, it seemed Benny
at least hadn't forgotten me, be-
cause pretty soon the gate
clicked and a secretary who
looked so much like Sonja Henie
that I figured she must have been
made in Japan showed me into
Benny's office where he was
shuffling a pack of telephones.
"Well, Miss La Tour!" says
Benny. "What is the big idea
of this visit?" I came right to the
point.
"A real big idea!" says I. "For
the both of us to be big enough
(Continued on page 87)
22
ILLUSTRATED BY McCLELLAND BARCLAY
(
BY NINA WILCOX PUTNAM
THE STORY OF A
GREAT STAR'S COMEBACK
warmly human story
i gallant actress who
ned stardom for the child
loved — only to find
price is still heartbreak
I grabbed the brush away from Belty.
"Try how it would go like this," I says.
Betty looked kind of mortified, but at
a curt word from Chris she stepped
out and I ran through the scene
f
4 J
Second in a series of hilarious interviews in
which stars play the old game of Truth and
Consequences and answer with the absolute
truth or pay a penalty devised by Photoplay.
This time Katharine Hartley beards Claudette
Colbert in her den and asks her some of the
most impertinent questions ever put before a
star. Like the good sport she is, Claudette
answers fifty-three out of sixty. The other seven
were too personal even for her, so she took the
consequences, some of which are shown opposite
1 . (Q) When did you ever keep a diary and
what inspired it?
(A) On my thirteenth birthday, September
13th. I decided that as a record for pos-
terity I would write down everything
which happened to me so that after I
was gone someone might write my
biography. Nothing much happened,
though, and I was too lazy to invent
things, so I gave it up.
2. (Q) When did you ever play hooky from any-
thing?
(A) From high school, one spring day, but
I was caught and suspended for three
weeks.
3. (Q) What subject as a topic of conversation
usually holds the center of attention in
your home?
(A) My husband's work.
4. (0) What aggravates you most in your work?
(A) I hate buck passers and whenever one
makes me the goat I get furious.
5. (Q) In what personal situation have you ever
"put on an act," and did you get away
with it?
(A) Once I met a producer who was looking
for an English actress to play a part in
his show. I pretended to be English
and when he commented that my accent
didn't seem very English, I explained
that that was because I was from the
Isle of Jersey and that people from
there had only slight English accents
because the Island was quite a distance
off the coast of England. I thought I
got away with it, but I afterwards dis-
covered that I didn't.
6. (0) Where do you keep "Oscar," the Acad-
emy Award statuette which you won for
"It Happened One Night?"
(A) In the closet as a hat stand for my best
hat.
7. (0) Do you believe that you honestly de-
served it?
(A) How do I know?
(Continued on page 75)
WITH
CLAUDETTE COLBERT
IV
^s
• 1
°*i
Cfl
Bft
on
MS
<»//,
W?'i-
y c
&%
'ew
y°
tir
°w*
A
L
•?i
--- ;/
Claudette crossed us up on this one.
For reneging on Question No. 20, we
asked to print a picture of her with-
out make-up. Well, here she is —
Lily Chauchoin, aged two and a half
¥
I
••
Impertinent is Question No. 49. Rather
than answer, Claudette poses for a pub-
licity picture as Nell, the Dead-Shot
L /.
L -r I
audette ever re-
to tears to get
wn way, she's not
ig. Punishment
'uestion No. 42 —
! a verse about
lance being intro-
d in "Midnight"
LA CONGA
by Claudette Colbert
You need a Bonga*
To dance La Conga —
Right or wronga
It makes you strong a!
Another refusal — on Ques-
tion No. 35 — gives us the
right to show you the most
unglamorous photo taken
on one of her many trips
Modesty forbids Claudette's answering Ques-
tion No. 28. Consequence — write an essay of
100 words or more and write it a la Bob Burns
LOT of people have always said that if you're low all
you need is a haircut. And I allow I think they're right.
Now you take Smoky, for example. Smoky's my French
poodle. He was a pretty tough hombre. He snarled an'
snapped an' growled an' barked and it just seemed like as
if he didn't like nobody. This was during the time that I had
his hair cut so that he had poms on his tail and on his legs
and I admit he did look a little bit sissy. So then what did I
do— I got him a haircut! I got him a plain, good old-fash-
ioned terrier haircut, and what happened? He became
kindly, nice, well-mannered as all get-out. You might say
charming. You see, before he had all those folderols taken
off he was what you call a victim of a defense complex. He
figured nobody liked him because he hated his haircut. When
he got a real haircut he dropped the defense complex and
turned out to be a right guy. As I always say there's noth-
ing like a haircut.
(* Bonga is a Cuban native drama)
Not a man who walks alone. Rather
a rare person who has learned the
art of living at peace with himself
BY IDA Z El T LI N
UNTIL early last year Bella and Paul Muni
lived in a ranch house out in the San
ando Valley, and liked it. If they
hadn't taken a notion to find themselves a sum-
mer shack beside the sea, they'd still be living
there and would have missed paradise.
In the spring, they started hunting along the
< for a small place where they might escape
the heat of the valley summer. One day, when
Muni happened not to be with them, a
itate agent drove her husband through
Palm Verdes. From below he glanced up to
where a large house stood, white and solitary,
on a hilltop.
'What's that?" he asked idly.
"It's been empty for several years. The own-
er's dead and it's going to be auctioned off soon.
Like to see it?"
Muni shrugged. "What for? I'm not inter-
ested in baronial halls."
"As long as we're here, the view's worth a
look."
Whether it was accident or diabolic sales-
manship doesn't matter. Muni looked at the
view and was lost. Next day he took his wife
out. She was influenced as much by his reac-
tion to the place as by the place itself.
"It's no summer shack," she offered tenta-
tively. "We'll have to give up the ranch house
and come here to live. It's a long drive in to
the studio."
He pulled his eyes back from the far horizon.
"I want it."
They put in their bid and got it. The place
needed redecorating and relandscaping. Muni
was making "Zola." So was Bella, for that
matter.
"I'm that pesky wife," she says, "that nui-
sance who sits on the set, that Muni woman."
She sits there by request. It's not her husband
alone who likes to have her there. The studio
likes it, too. Her unobtrusive presence spells
comfort to them as well as to the actor.
They've found they can settle a hundred minor
but necessary details by applying to her.
She would take a couple of hours off at lunch
time, race out to the house for a consultation
with the workmen and race back. Three days
after "Zola" was finished, they moved in.
Living there is like living at the heart of
peace, with sea and sky and gray-green hills
as your neighbors. The central hall opens on
a balcony that looks down over gay terraces
and turquoise pool to the ocean lapping far be-
low. Every window frames a different aspect
of nature that changes with every hour. Be-
hind the house, the hills billow softly to a sky
line whose sweep toward infinity both uplifts
the heart and sets it at rest. On clear days you
can see Malibu and Catalina. "On very clear
days," adds Muni gravely, "you can see China."
He is eager as a child to share with visitors
the enchantment of his surroundings. His en-
thusiasm has been known to draw guests from
the dinner table to watch the glory of a sunset,
while the salad wilted.
Mists veiled the sun and blotted out distance
on the day I was there. Each time a watery
beam struggled through, he'd lift his head
hopefully. "Maybe the sun's coming out after
all," he'd say, looking at his wife as if he half
expected she could do something about it.
TARTLY because of the quality of his acting,
partly because he shrinks from the limelight,
Muni threatens to become a legend during his
lifetime. People are inclined to envision him
as a man who walks alone and communes with
the firmament. In a way, it's a commentary on
our movie industry. Standards are such that
an actor who acts becomes a phenomenon, to
be regarded with awe.
Muni, to use his wife's description, is a "plain
26
He's as eager as a child to share
with visitors the enchantment of his
surroundings. Here he reads and
works and tramps the hills with Simon,
his Airedale (upper right). As for Bella
Muni (right), it's her talent that
smooths the routine of daily living
guy," with a passion for doing to
the farthest stretch of his capacity
whatever he undertakes. If that
be rare, then he's a rarity. In all
other respects, he lives on a nor-
mal human plane. The image of a
somber Muni would be effectively
dispelled if you had seen him ex-
plain his refusal to take a drink by
snapping his fingers in swingtime
and caroling, ''I — got — a-cid, I —
got a-cid — "
It's not gaiety, but fuss and to-
do and ceremony that he shuns.
To be made the target of attention
unnerves him.
"Some people," he says, "are
lucky enough to be able to main-
tain their composure through fire
and water; some aren't. I'm of the
latter group. I'm easily distracted. An unfa-
miliar noise, visitors on the set — they bore
through here — at the back of my head. I'm not
presenting myself as a sensitive flower. I'm
telling you what happens. You may say I
ought to be used to audiences. But the thea-
ter's different. The audience stays out there,
where it belongs. You stay on the stage, where
you belong. The footlights are between you.
On the set, there's no such tangible barrier.
On the street, there's none at all. I don't stop
to probe for psychological whys and where-
fores. All I know is, I'm scared and I hide — "
Wherever possible, Mrs. Muni acts as his bar-
rier. She has merry eyes, a warm heart and
a greater ability than his to cope with small
vexations. Her talent for people smooths the
routine of daily living, her sense of fun colors
it. As always in the case of those few mar-
riages made in heaven, you have only to see
them together to be aware of the depth of
understanding between them. There was a
scene in "Pasteur" which made Mrs. Muni
smile. Josephine Hutchinson, playing Madame
Pasteur, reminds the scientist of how he pro-
posed to her. "You said: 'There's nothing
about me to attract a young girl's fancy, but
those who have known me well have come to
like me.' " When Muni asked Bella to marry
him, he said: "I'm a very difficult person to
get along with." She still doesn't know what
he was talking about.
She gave up acting to devote herself to his
comfort, which remains her primary goal.
Recently Rice, their chauffeur, came to her,
looking troubled. "I been rackin' my brain,
Miz Muni, an' I believe you better get some-
body else to drive you. Then when the boss
starts workin' I can take him in an' fix his
breakfast at the studio an' kind of look after
him—"
"That's fine. And who's going to look after
me?"
"Well, I'm doin' no more than what you're
(Continued on page 85)
27
Found — o skating partner, young, handsome, as
sure and swift as the ice queen herself, and
the real reason she has taken up pair-skating
£v
L
^ '2
BY MARIAN RHEA
A
/.
-w
THE situation rather slipped up on Hollywood. Of course, the
sports columns may have mentioned it; still, when we gc.th-
ered in Hollywood's Polar Palace for the premiere of Sonja
Henie's "Hollywood Ice Revue," the stars and other important
people in their boxes and the rest of the crowd filling every avail-
able seat in the house, few of us suspected a thing. . . .
Not even when we noticed on our programs: "Number 15:
tango, Miss Henie: music by Gade" and five significant words be-
neath Sonja's name: "Assisted by Mr. Stewart Reburn."
The show opened with a bang. The skaters were attractive and
expert: their costumes beautiful; their performance unique and
exciting. ' Sonja told me once that Hollywood is a "cold" audi-
ence, but on this occasion enthusiasm ran high. It was a gala night.
Smoothly, considering that this was a first performance, the pro-
gram progressed — the winter fashions for 1939, two or three de-
lightful novelties, Sonja's initial appearance — to the climax of
the first part, her exquisite interpretation of Strauss' "Voices of
Spring." We had also applauded three numbers of Part II before
the announcer called our attention to the big news of the evening.
"Ladies and gentlemen! For the first time in her life, in the
next number, Sonja Henie will skate with a partner! Allow me
to present her in a pair-skating tango with Mr. Stewart Reburn
of Toronto, winner of countless Canadian championships and twice
a member of the Canadian Olympic Skating Team!"
The music changed to a rhythmic tapestry of singing strings and
muffled drums. The spotlight focused an instant on the snow-
banked performers' entrance, then carried into the center of that
vast, frozen arena a thrilling spectacle — a dainty fairy in black
sequins with a rose in her pale gold hair and a courtier, hand-
some, sure, swift, as though the blades beneath his flying feet were
the wings of Mercury!
oONJA and a partner. Sonja, the greatest solo skater in the
world, and a partner. That was news, indeed! For Sonja had
never once skated with Jack Dunn, her program associate when
she staged her first Hollywood revue. She had never skated with
anyone.
But now. . . .
Onward the two of them swept, rhythmically, effortlessly, while
we who watched, silenced at first by the sheer perfection of their
performance, burst into applause at the youth of them, the charm
of them, the grace which adorned each motion. Never were they
two skaters paired. Always they were unity personified. Even
when they separated, the illusion held.
And at first, when the music ceased, we wouldn't let them go.
We cheered until they came back — again and again. We couldn't
let them go. They were so beautiful to see; so right together.
And later, when the lights had come on and the overture for
the next number was playing, the place buzzed with excitement.
"Who is he — I mean, beside being Canadian champion?" "How
did Sonja happen to choose him?" "Isn't he handsome?" "He'll
be in the movies, next!" "I wonder if she likes him — personally,
I mean." "Why is she skating with a partner after all this time?".
Sonja, herself, answered most of those questions fifteen minutes
later when I sought her out. backstage, and asked her.
Backstage, incidentally, presented a strange sight, thronged as
it was by the "Alice in Wonderland" participants — the Angry
wm
NEW PRINCE CHARMING
At the premiere of the new Ice Revue, Sonja Henieand Stewart Reburn, young Canadian champion,
held their audience by the sheer perfection of their performance; but, when the act was over, all
Hollywood buzzed with excitement over these two who were so beautiful to see, so right together
Duchess, the King and Queen of Hearts and all
the rest — and Sonja, instead of being shut away
behind a certain door decorated with an electri-
cally illuminated star, was watching what was
going on in the arena, taking notes, giving direc-
tions— a little doll of a girl whose dimples came
and went, whose abbreviated costume made her
look like a child, yet a personage whose voice
carried the ring of authority and whose sugges-
tions were canny and practical.
OHE smiled when she saw me and beckoned
me toward the star-adorned door. "You wanted
to see me, yes?" she said, in that direct way she
has. "Well, then, please come inside."
"About young Mr. Reburn ..." I began,
when we were seated in the makeshift but cosy
little room.
She laughed. "I thought perhaps it was
'about young Mr. Reburn.' He is very hand-
some, isn't he? And he skates like a dream. . . ."
"How did you happen to decide on pair-
skating after soloing for so long? And how did
you happen to choose him? Would you like to
have him in a movie with you? Where . . ."
I was trying to improve my golden opportunity.
I knew she would be called away soon.
Again that silvery little laugh of hers. "May-
be questions one at a time would be better,"
she suggested. "I decided upon pair-skating
(Continued on page 78)
29
HOLLYWOOD,
ILLUSTRATED BY GALBRAITH
I ADORE breakfast in bed, it's so decadent.
Unfortunately I always have to have a cold
or something. When I'm married I'll have a
filmy bet! jacket and a butler who talks like Eric
Blore to bring in the mail.
This a. m. red 2 photos of my beloved Bette.
a bid from Henry for ball game, and Barbara's
respond daily since pops cut my
phone quota down to 3 per day our bill having
$18.64 Barb and I have Batfootedly re-
to go to camp this summer, we not believ-
ing in regimentation. We have adopted a new
motto:
Hollywood, we are coining
and say it every time we sacrifice a soda for the
cause. B., being in love with Herb Marshall, is
on diet again. He hasn't given her any en-
couragement yet, though she wrote him 5 cute
letters (composed by me).
To be perfectly frank with myself, it isn't
much of a cold. I put the thermometer in warm
and added a couple of sniffles. Wanted
to cut Eng. Lit. as Sour Puss has a mad on me
and it's corny to be withered in an Eng. accent.
She gave us an assignment to write a poem
choosing any subject. I decided not to write
about clouds or skylarks, because nowadays who
what a skylark does in his spare time? I
wrote 2 quatrains in iambic tetrapodies, closing
with a rhymed couplet, just like Shakespeare:
The Purser said we would have
to go down to Third Cabin
untilthemoneyarrived. B.says
that's what makes commu-
nists, having different classes
I wish I had K. Hepburn's smile
Marlene's legs or Myrna's charms
I'd like to rest a little while
In Gary Cooper's arms.
A touch of Joan's simplicity,
A flash of Greta's fire;
If Gable once would look at me
His eyes filled with desire.
To have a week, a day, an hour of Heaven
I'd give ten years of life . . . from sixty-
seven.
She gave me an F.
Barb wanted to write a sonnet but she can't
write sonnets so I wrote a swelegant one for her
and she gave me signatures of Spencer Tracy
(fac-simile) and Claude Rains (sec'y.). We
both thought it was simply terrific but she also
got an F.
My soul yearneth for a banana skyscraper.
Maybe Barb will have sense enough to smuggle
in some solid nourishment.
Last night she saw "Jesse James" and told me
the story. Tyrone Power plays some bandit or
other who goes around shooting all over the
place.
She says it's a great Human Document but I
can afford to miss it.
cytWxA'U.
nE have solved the problem!
Hollywood, we are coming!
Olivia de Havilland is sailing Sat. for The
Coast and we are going with her. Naturally,
she has no idea. Must get luggage labels today.
Also some luggage. . . .
S.S. President Cleveland
3rd Class (temporarily)
WE made it! Everybody was furious but us.
We walked on board as if we were just ordinary
fans. After getting the lay of the ship we went
down to make ourselves comfortable under
Olivia's bed but it was occupied by two girls
and a man ... I mean under the bed was. We
asked them to move over, but they refused,
some fans being hogs. Then the gang burst in
so we went to another cabin opposite where
there was a suitcase labeled "Mr. Humphrey
Watson, Hollywood." We rolled under the
berth, Barb having difficulty with her hips.
Finally Mr. W. came in and I concentrated on
not sneezing. He opened his suitcase and went
out again and we heard them cry "All Visitors
Ashore." It was suffocating and B.'s chocolate
almond bar got all crushed. Then a whistle
blew and we felt the throb of the engine and the
boat started moving. It was the thrillingest mo-
ment of our lives.
"There goes the sky line without us," said B.
and then we both said "I hope we don't get sea
I told Mac and Humph about
the L.A.L. and the Unwritten
Code. Barb, who had been with
her Infant Prodigal, Joined us
sick" so we made a wish. I
bumped my funnybone and
B. broke a shoulder strap.
Then Mr. Watson came back
and his ankles looked kind so
we decided to throw our-
selves on his mercy. We put
our heads out and said "Par-
don us," and he seemed sur-
prised. His face was a cross
between Laurel and Hardy
so we felt sure he wouldn't
make advances.
I got out first and we hauled
B. out and she was all red and
had to borrow a safety pin for her shoulder
strap. He seemed sympathetic so we told him
all. He advised us to wire home first and then
inform the Purser.
There was a stunning officer in the wireless
office so we took our time and we each wired
for $500, which it seemed to me any parent
would rather send than have their child put in
the hold of a ship with rats and galleys for 19
days on bread and bilge water. I said as much
in the cable which cost $8.
Then we went to Olivia's suite to get our suit-
cases which we had got on board by addressing
to her. A stoutish man with one chin more
than necessary barred the way. Then we went
how> -"l*" "J* *"d
*ut0,
'ay
'" ^v;>ft
ler life
to the Purser and told him we had fallen asleep
under the berth by mistake, and he said we
would have to go down to Third Cabin until the
money arrived. He was adamante, also firm.
So here we are sitting on the bow, practically.
It isn't nearly so nice as First, and Barb says
that's what makes communists, having different
classes. We are slightly depressed being stuck
down here while all sorts of fascinating things
are going on. B. says every time the engine
heaves she feels like doing likewise, but I say
every turn of the wheel brings us one step
nearer our goal. That's the difference between
an optimist (me) and a pessimist (Barb).
Heavenly bliss! Stowaways, bound
for the garden of their dreams —
another hilarious chapter from
the autobiography of Jane Lyons
BY LILLIAN DAY
Hope the money arrives before dinner as the
menu upstairs looked terrific.
Ship's Log
Second day out. A. M.
Weather: super-swell
HE now have a magnificent cabin on C deck,
also our sea legs. Rented deck chairs on the
Promenade Deck which looks like in pictures.
The stewards wait on us as if we were of age and
we are making "the most of what we yet may
spend." (Omar Khayyam). Our parents hud-
dled and cabled the Cap to give us a minimum
rate Cabin in First to Havana and then send us
back on the Oriente. We think they have acted
rather smalL
The story got around that we were de Havil-
land fans and we didn't deny it. So they
snapped us under her bed and this fat man who
is a Publicity Person called Mac (because his
name is Mac Something) is going to let the
newspapers print the pictures without charge,
which is rather decent. I'd give a quarter to see
Vera Bailey's face when she sees them.
We got our suitcases in time for dinner and
asked the steward in the dining room if he could
put us at a table with two interesting single men
but he couldn't so we are at a table for six. the
others being couples but not bad. After dinner
went to smoking room where lots of people no-
ticed us but no one had the courage to speak
to us. We ordered creme de Menthe frappe
and while we were sipping it a little page boy
came with a note from Olivia inviting us to tea
tomorrow! It's going to be a problem to decide
which of us gets permanent possession of the
note. Here comes bouillon.
Ordered Oeuj a la Coq for breakfast which
turned out to be soft-boiled egg, so I pretended
I had known and ate it.
Ship's Log
After lunch
Weather: dazzling
Sea: super-blue
Latitude: plenty
I SIT for hours gazing out toward the horizon,
and I think and think and don't know what to
think about. "Water, water, everywhere" (An-
cient Mariner). I would like to meet the cap-
tain but he always seems to be at bridge, or on
the bridge, or something. Last night we talked
to Mr. Watson until after one. He is like that
(business of fingers crossed. D'ya get what I
mean?) with all the big stars and calls them by
their first names to their faces. He is a pro-
moter, which I suppose is something like a pro-
ducer.
Wnen he saw me writing he asked me what it
was so I showed him parts of this chronicle and
he said it showed I had talent and would make
a good story for Deanna Durbin.
Whenever he passes my chair he says
(Continued on page 93)
31
Before Kay's station wagon drove her off
the studio grounds for the last time, she
cleared up any misapprehensions regarding
her retirement, her age and her marriage
7U
f.
//
CAN'2
WA
TO Bd
sttr
r am
Firs
3lar
FORGOTTEN:
KAY FRANCIS LOOKS AHEA
BY S. R. MOOK
CAN'T wait to be forgotten!" Kay Francis
She was sitting in front of her dr<
table, readying herself for the last shot of "Wom-
en in the Wind" — her last picture on her con-
It may be the Last picture she will ever
make Yet all the resources of a big studio
rahaled into action to keep her to
[amorous figure she has always
Today one of the top stars of the cinema. To-
jiist another woman. And here was
welcoming oblivion!
"I can't wait to he forgotten!" she repeated.
She had said much the same thing to me sev-
32
eral months before. Other stars have announced
their retirement and have made almost as many
returns. Bing Crosby and Clark Gable both
told me when their contracts were finished they
would never sign another. But both of them
re-signed before their pacts had even expired.
I had listened politely and unbelievingly to
first' outburst and had rejoined carelessly,
"You still have three pictures to make. If one
of them should turn out to be a smash hit War-
ners or some other studio would offer you a new
contract and you'd sign it."
"You don't know baby," Kay had laughed. "I
don't say I'll never make another picture be-
cause if I should happen to be in Hollywood and
some producer offered me a good part I'd jump
at it. But as far as another contract or making
a career of pictures any more is concerned, I'm
through!"
And here she was, the last scene in her last
picture about to be shot and still sticking to her
guns. One of the three pictures had been a hitj
she had been offered a new contract — and she
had turned it down.
"At least," I now offered, "it's nice that you're
leaving at the height of your career."
Many times have you heard of Kay's booming|
laugh. It rang out now.
"Don't kid me, darling," she said. "A yearl
ago, yes. But not now. The parade is passing |
me by — and I don't care."
She spoke without bitterness. There was |
nothing of the "sour grapes" quality in her voice.
I recalled another conversation I had had
with Kay long, long ago. She has had the repu-
tation of being temperamental but, if she is, her
outbursts have never taken the form of making
things difficult for the studio. She has played in ,
an almost endless succession of pictures other
(Continued on page 72)
ajor production crisis oc-
d when Mr. Gable didn't
;o well to hoofing. In all his
of acting, this was one
that got his goat. For two
behind a police-guarded
Sable rehearsed his song-
lance act while Hollywood
'he time of its life kidding
Worse blow of all to
's sensitivity was a present
Carole Lombard — a man-
ballet skirt with "C.G."
jly engraved in embroid-
But trouper Gable, the
n-dollar dare in mind, con-
id his shyness and
ged as a finished hoofer
Norma Shearer (right, with
Gable and Laura Hope
Crews) was, on the other
hand, the cameraman's de-
light, since she wore her short
ballet tights with a flourish.
After the Gable impasse the
plot proceeds nicely: a ho-
telful of people are stranded
during a war threat and the
resultant episodes, both sad
and glad, lead to a most in-
spiring climax. It's a back
seat for Broadway on this
one, thinks Hollywood. All
told, "Idiot's Delight" has not
only a past — but a future
. ?&
*&*. 1
U '
ARE THEY
REPRESENTATIVE of a new trend in Hollj
wood are these pictures of stars and the hi
torical characters they have portrayed
the screen. A perfectly filmed historical pictu:
is usually considered a most spectacular feath<
in a studio's production cap and Hollywood, wl
always talks in superlatives, works in superb
tives on a film of this type. Research depar
ments, make-up men and technical advisors |
into million-dollar huddles about the backgroun
/-*! i„ D II J_ Ik
. . . while Bet+e Davis is to bring to
the Warners' screen the tragic life
of Empress Carlotta in "Juarez"
TYPE ?
ie cast is hand-picked, usually by a top exec-
tve himself, since the actor is the magnet that
aws the money. On these two pages, we have
esented pictures of historical characters and of
e stars who have immortalized them in celluloid.
» find out the "I.Q." of Hollywood casting ex-
its, compare the pictures and decide whether
>u think the chosen stars are "the type." If,
ter a careful study, you're a "ves man" on
scores — well, then, vou belong in Hollywood
Historical photographs on this and
the opposite page from Culver Service
^
Cellini, as interpret-
ed by Fredric March
^
.^
ii
^
j+M
A
i
_^^H ^k
^
v
1 Napoleon, personified
by Charles Boyer
4
J
MSr
Lincoln, as presented
by Walter Huston
<Y
Josie Mansfield, acted
The "tweeds and pipe" type of leading
man — Joel McCrea, known to wife Frances
Dee, two small sons and most of Holly-
wood as "a grand guy." Branding steers
on his own Wild West ranch is his pas-
time; roping in dollars for Paramount
in "Union Pacific," his present business
Coming attraction of "Wife, Husband
and Friend," currently of "Kentucky" and
veteran female foil of the cinema — Loretta
Young, who checks up her assets as a
pair of luminous eyes, years of foolproof
film experience and one of the most
photogenic faces in the industry
ft
, ,i\»,- tjf
,•
I*
Above is Lily Chauchoin of Paris,
who always tied her own hairbows —
with typical Claudette Colbert com-
petence. Left is "Lolly" Gainer, when
she was training (unconsciously) for
her career as Janet Gaynor by
being the star Sunday-school actress
of Philadelphia. At the right is
a female heartbreaker, Hedwig,
daughter of banker Kiesler of
Vienna — Hollywood's Hedy Lamarr
I
NORS
Twinkle, twinkle, little
star — we'll bet you
don't know who they are!
Photoplay does a "proud parent" act on its Hollywood foster
children and resurrects some baby pictures of the stars. At the
top in the old swimmin' hole is Franchot, son of businessman
Frank J. Tone, of Niagara Falls, N. Y., a daredevil, who, oddly
enough, was given to writing "soft" poetry in his off moments.
Right, top, is Myrna, freckled-faced daughter of the Williams
family of Helena, Mont., when her only family responsibilities
were two kittens. The film duties of "Mrs. Thin Man," per-
fect American wife, were still far in the Loy future. Center
is the grandson namesake of "Big Jim" Stewart, of Indiana,
Penn., at the time when he was devouring huge bowls of oat-
meal to the tune of "You don't want to look like a rail, do you?"
At the right is a youngster who, contrary to his Pennsylvania
Dutch ancestry, always wanted to go places fast. He accom-
plished it at this time by means of a hobby horse hitched to
the dining-room table in his grandparents' farmhouse. He's
speeding along nicely today as Clark Gable. Bottom, opposite
page, is another leader of the Helena, Mont, younger set,
snapped at his favorite sport — fishing in the horse trough. Be-
neath the Dutch bob (worn by maternal orders — it makes him
blush today), he was busy plotting his career as a big-game
hunter in Africa. He bagged big fame instead as Gary Cooper
JRRAVEN
F*r
W/fc
«S
Ji
■ ,
[
j"
jH*'
4
XV
•v
>
«H
A HOBBY I had in mind ever since I was a
boy," is Victor McLaglen's description of his
twelve-acre estate which lies in La Canada,
foothill district near Pasadena, Cal. A most
unusual home and a most fascinating enter-
prise is Photoplay's impression of this model
farm, unique even in Hollywood, where mil-
lion-dollar enterprises are the custom. A pool
and tennis court are necessary assets to any
estate, but over and above those are these
special McLaglen possessions: a menagerie of
deer, kangaroos and honey bears; an aviary of
500 rare birds; a pet collection of fourteen dogs
and a cat family; jumbo frogs; guinea hens;
farm stock, consisting of cows, pigs, turkeys,
pheasant, mallard ducks, chickens and rabbits.
The fine stock farm of thoroughbreds is un-
usual, since the McLaglen horses are trained
for jumping rather than racing. Completing
the inventory of the estate are the smoke
house, curing house, vegetable gardens, fruit
orchards, dairies, barbecue gardens and gym-
nasium. Most characteristic room of the house
is the tack room, where are displayed the cups
and ribbons won by Mrs. McLaglen and fif-
teen-year-old daughter Sheila (lower left)
and the trophies of Andrew (below), the six-
foot-six son, who, at eighteen, is an inter-
scholastic tennis champion. As for McLaglen
himself, Photoplay pins the blue ribbon upon
the star of RKO's "Gunga Din" in praise of a
man who has the finest hobby of all — a home.
f ■
u>.
Wf
t-
f
£\
y
+3-
' <"-**■
#38^
•^v ^.
SEEN HOLLYWOOD ESTATE
Mother Ann Whitehead
Daughter Ida Lupino — mother Connie Lupino
Daughter Mary Carlisle — mother Leona Carlisle
Mother Anna MacDonald
A good paint job sometimes makes
a billion-dollar beauty, it's true,
but in this case the mamas win
over the make-up men — by a nose
Daughter Anita Louise
4 ^
I
ughter Jeanette MacDonald
These pictures of some startling
mother-daughter resemblances
prove that often in Hollywood a
gal's best double is her mother
Mother Lela Rogers with
daughter Singer Rogers
I)UTH TAKES A FLINC
A new type of movie quiz — a "picture" story t
will take you back to your primer days. Like all g<
fairy stories, it starts out, "Once upon a time . .
The trick is to fill in the missing links of the story m
motion-picture titles. Whenever a break in our st
occurs, we have inserted a scene from a motion pict.
If you can guess the title of each picture, you will h,
when you are through, a complete storiette. We'll s
the story for you: Once upon a time, a "Girl of
Golden West" named "Zaza" was sent to a fash
able .... You go on from there, following the n
erals for sequence. If your memory fails you, tun
page 85 and find out what happens to Our Hen
A 3 to I bet tor fame in 1939 is
Nancy Kelly, who, at seventeen,
is starting a film career with three
of Fox's juiciest roles. A 'find
from Broadway, she was rushed by
sponsor Zanuck into "Submarine
Patrol." cast as Ty Power's wife
in "Jesse James" and then given
a female lead in "Tail Spin."
With these three films now re-
leased, she has proved herself one
of the starlets of the season
r
This killer-diller of the West
tips you off to the latest antics
and amours of the flicker folk
When is Fun Funny
JO AX DAVIS came over to the set where Alice
Faye was working at 20th Century-Fox. ex-
citedly holding two small bottles in her hand.
''Look, Alice, I've just discovered the most mar-
velous kind of new liquid lip rouge with a re-
mover to go with it. It completely eliminates
all of the messiness of the old kind. The only
trouble with it is that it's so darned expensive —
ten dollars for the set."'
Alice tried the new rouge and waxed enthu-
siastic. She promptly wanted to purchase some
from Joan. Not having her bag with her she
borrowed the ten dollars from Harry Joe
Brown. Then she had a bright idea — to give
each of the girls who had worked on the picture
a set as a gift.
So Alice called Joan back and asked that she
Paulette Goddard,
oncf runner-up in the
"Scarlett" contest, cuts
a fancy figure on the
ice in her snug Tyrolean
jacket and brief skirt
PHOTOGRAPHS BY
H Y M A N FINK
order some additional sets and bring them over
that afternoon. Joan, you see, had been very
cagey as to where the cosmetics came from.
That noon Alice lunched with her husband,
Tony Martin, and, since Tony had forgotten his
checkbook. Alice borrowed forty dollars from
"Sugie," the genial host at the Tropics, to give
Joan that afternoon, to pay for the lipstick.
Then she invited her stand-in, the wardrobe
girl, the script girl and Joan over to dinner
where the gift presentation was to be made.
After the festivities were over and all the new
owners of the precious mysterious cosmetic had
raved — Joan broke down.
"Here's your fifty dollars back," she said to
Alice. '"I was just gagging. Those sets aren't
exclusive; I got them at the dime store."
Hi There, Mayor:
I HE Mayor of Van Nuys means business. I:.
fact, when the good folk of that comn
elected Andy Devine to office, they had n
just how conscientious he would be.
One day, Clark Gable and Phil Harris drove
up to Andy's house, wearing wide-open grins
and waving a ticket in the breeze.
"Hi. Mayor." they called. "Come on out and
fix us up. We got a speed ticket."
hing doing." Andy cried. "You bums get
a ticket in my town and you pay. That'll teach
you not to speed on my streets."
Clark gazed at Phil: Phil gazed at Clark—
"By gosh, he's right," the boys said. "We should
pay," and off they marched to pay their fines.
Nowadays, if either culprit receives a ticket
in Van Nuys he keeps it from the Mayor!
«
SPRING in Hollyypod! Ah me, for a stroll
down tba; celebrated Boulevard, sigh envious
liti'ie fans from faraway cities.
Sigh not, my pretties, for Cal has taken the
stroll for you and here's the old lane all
wrapped up in a small package for you.
Hollywood Boulevard proper is about a mile
and a half long, has forty-two beauty shops, a
five-and-ten-cent bar, five places that guaran-
tee to grow hair on your head, a bootblack in
formal attire plus a high silk hat, five hermits
n various stages of undress, tennis courts open
all season, swank and cheapness elbow to elbow
— and practically no movie stars in sight.
Crawford Knocks on Garbo's Door
WlTH an air of determination, Joan Crawford
entered M-G-M's swanky dressing-room build-
ing and turned down the hallway. Her steps be-
gan to falter a trifle — and then she paused be-
fore a door marked "Greta Garbo."
For some minutes she hesitated, then, raising
her hand, knocked on "the door."
But a second later she was fleeing down the
hall and out onto the lot like a deer.
The Troc dripped with glamour the
night Norma Shearer met up with
Marlene Dietrich (she's here to estab-
ish her American citizenship) and
Hank Fonda at a dinner party
N. \
*Z7
05SMI
J*cH
tor
*><j
ro,
^a
9e
er
'se
"<3s
Also at the premiere — Producer Walter Wanger and Joan
Bennett, stunning in white brocaded gown and fox wrap
*****
"w,
"I had an urge to greet Miss Garbo and tell her
we were glad to have her back," Joan explained,
"but suddenly I realized I couldn't say a word.
So I ran."
Who says there's no star worship among the
stars of Hollywood?
Shirley — You've Got Company
I HE Mayor of Boston, on a recent trip to Holly-
wood, called to pay his respects to Miss Temple.
At luncheon Shirley ate a fat little muffin with
only one quick glance in her mother's direction.
The entree was a little slow in being served, so
Shirley slyly reached for another without risk-
ing a disapproving nod from Mother.
The talk between Boston's mayor and Shirley
went on at a great pace when suddenly Shirley,
who dared not ignore Mama a third time,
glanced up and reached out for a muffin. Her
plump little hand stopped midway at the look
cast her way by Mrs. Temple.
''Oh, do you have to diet?" the Mayor asked.
''Well, I just have to be careful, that's all," she
smiled. And then added wistfully, "But I'm
hungry all the time."
* * *
Visitor number two shall be nameless. A vet-
eran of the World War, he began expressing his
admiration for Shirley by mailing her medals,
earned for bravery during the war. After each
picture, a cherished medal would find its way
to Shirley.
And then a letter reached the Temples from
the admirer stating he would be in Los Angeles
for a visit and would love greeting Shirley. The
letter, taking its usual course, reached Mrs.
Temple several weeks later. Instantly a search
of all Los Angeles hotels began. The admirer
must be found and made to know Shirley had
received his letter after he'd left home.
He was finally located and brought to Shir-
ley's dressing room. He proved to be a huge
Irishman who posed quietly beside Shirley for
photographs.
'"Shirley, put your hand over on his sleeve,"
the photographer said.
Shirley obeyed, but the picture proved any-
thing but successful.
The big Irishman seemed powerless to lift his
eyes from the tiny little hand resting on his
sleeve.
When he finally left, he presented to her his
final gift. It was a Croix de guerre.
Family Pride
UlD you hear about my dad?"
The eyes of Mickey Rooney shine with joy as
he struts around the M-G-M lot with the ques-
tion, "Did you hear about my dad, Joe Yule?
He's making a picture. "Boy Trouble,' over at
Paramount with Charles Ruggles and Mary Bo-
land. Got the job all on his own, too. Now
you're going to see some real acting."
And Mickey, grin a mile wide, struts on to
tell more friends about the dad who went from
a Main Street burlesque house to movies with-
out taking one bit of aid from his son.
"All on his own," as Mickey says.
»<*
">s
'■W'f .*#
Ghost House
UP in Hollywood's beautiful Coldwater Canyon,
where so many swanky new homes are being
built these days, is a lovely but lonely house.
No fire has ever warmed its hearth; no light
has ever shown from its windows; no heart has
ever called it home. It is empty and has been
since it was built, eighteen months ago.
Yet it was built to be a home — the home a
grateful son had dreamed and planned for his
mother. That son was George Raft and to tell
the story of his ghost house in the canyon, you
have to go back a long way . . . back to those
days when George was a tough kid, hanging
around gymnasiums and pool halls of East Side
New York, heading, because there was no other
way to go, toward no good end.
Then came a certain day when his mother,
the mother who had borne nine other children
only to lose them all in death, took a hand in
behalf of this last and only son. He should have
his chance.
There was to be a dancing contest. The prize
was $50. George could dance; hadn't she taught
him herself? She vowed that he should enter.
"I can't. I haven't a partner." he told her.
"I'll be your partner," she said.
And she was. She fixed up a dress for her-
self that stripped the years from her still lithe
and supple body. She pressed George's best
(and only) suit. She shined his shoes. And. on
the Great Night, dressed to kill although they'd
had scarcely enough to eat for supper, they
entered the contest.
(Continued on page 70)
• THE BEACHCOMBER-Maytlower-Paramount TOPPER TAKES A TRIP-Hal Roach-United Artists
S RSEI MAUGHAM wrote this original story
with his usual brilliance and it's apparent that in-
tellectual Charles Laughton appreciated what he
had to work with. If you've a knack for translating
veddy British accents, you will find much food for
inner laughter here. It's the tale of an English
beachcomber, which role Laughton plays superbly,
and of two missionaries on a remote island. Laugh-
ton is fanatically dissolute, the missionaries just as
fanatically determined to reform him. Elsa Lan-
chester, one of the Good Souls, mistakes his scorn of
her charms for respect of her virtue and sets out
to marry him. The climax comes during a fever
epidemic. Miss Lanchester gives a best performance.
Robert Newton and Tyrone Guthrie are good.
TllORNE SMITH'S books about Topper were suc-
cessful because, despite thin plot content, they were
quite sophisticated. What with the Hays Office, Mr.
Roach's second Topper feature has only whimsey
left. Fine process photography has its novelty value,
but after that the piece depends on Billie Burke's
reading of gag lines. This time, the ghost of Marion
Kerby — thoughtfully played by Connie Bennett —
finds Topper (Roland Young, again) in trouble be-
cause his wife is divorcing him and, furthermore, is
playing about with a fortune-hunting baron, Alex-
ander D'Arcy. Topper follows her to France and is
heckled as well as helped by the importunate
Connie. Of course, Billie Burke is still Mrs. Topper
and Alan Mowbray is the butler, with little to do.
THE NATIONAL GUIDE TO MOTION PICTURE
* WINGS OF THE NAVY-Warners
• THE GREAT MAN VOTES-RKO-Radio
HERE'S another American Document film, by the
brothers Warner. It's a type of picture they do well,
anyway, and this has the additional virtue of a good
love story merged with the fascinating pictorial de-
tails of the naval air service. John Payne is the
hero, and nice in his clean-cut, casual way. In
"Wings of the Navy" he plays George Brent's
brother. Both have traditional Navy background
and there has been a sort of friendly rivalry be-
tween the two since childhood; Brent has become a
flying ace and John, desirous of proving his mettle,
leaves the submarine division and enters the gov-
ernment flying school. Here George is an instructor
and so fascinated by his work that he somewhat
tt his fiancee, Olivia de Havilland. Woven
through the educational reels which show the
method of teaching cadets is the personal story of
these three. John and Olivia, although Fighting
Against It, find they were Meant For Each Other.
John is then Noble, persuading Olivia to remain
True Blue and Stick Through Thick and Thin. This
she does, even when Brent crashes and is bedridden.
The foregoing banal sequence is enlivened by the
fact that George has designed an overpowered
plane and that no test pilot will take it up because
it has failed once, disastrously. John gives up a
'1 Honolulu flight to make the test himself
and then it is George's turn to make a sacrifice. It
all sounds a little reminiscent, but it's done so well
you'll believe in it. The thrills, crashes and stunt
I lences are beautifully executed.
flERE is a striking example of how one fine actress,
given a censored and hackneyed story, can by sheer
force of personality and finesse of portrayal create
a picture worthy of your attention.
"Zaza" in its original form, of course, is not
presently suited for the audience whose morals the
Hays Office so grimly protects. In its place you are
allowed to follow the fortunes and misfortunes of a
French musical comedy dancer when she falls in
love with a man, discovers he is already a husband
and father and gives him up. Claudette Colbert,
with astonishing vitality, plays the gay, bawdy, un-
tutored Zaza, giving the shorn role zest and humor.
It is Herbert Marshall, a "swell" from Paris, whom
she meets and loves while she is still doing the
cancan (Hays version adaptable for Epworth
League use) in a suburban theater.
For several months they enjoy a passionate idyll
and then the rumor that Marshall is married reaches
Claudette. In fury she treks to Paris, visits his
apartment and there is confronted by his child,
delightfully played by Ann Todd. It is for her hap-
piness that Claudette renounces her one great love.
She goes on to eventual success and, when Mar-
shall finally tries to come back, she finds the right
solution.
Bert Lahr, with unsuspected dramatic talent, does
a line job in the role of Zaza's theatrical manager.
Helen Westley is good as the drunken foster-mother
and Genevieve Tobin plays a catty chorus girl. The
entire piece is expensively produced.
I HE great personal story of John Barrymore's tran-
sition from a young romantic star to a middle-aged
dramatic star reaches its climax in this picture. He
has never given a finer portrayal. In addition, the
piece is directed with understanding and produced
with simplicity; the supporting cast works smoothly
and the story idea itself is not only original but
creates an entertaining character study. You could
ask little more from a motion picture.
Barrymore plays a once brilliant historian who
had worked himself to fame because of his wife's
encouragement. But she is dead and he has be-
come a drunken derelict, keeping himself and his
two children by being a night watchman. The time
is 1923; the New York ward bosses are going strong
and prohibition is still a robust American entity.
Barrymore's hero-worshipping children, jealous of
their friends' fathers who are famous bosses, plot to
get the old man into the papers again. They run
away, find their way to a rich uncle's house and
generally make things so hot that Barrymore finds
no alternative but to rehabilitate himself. This is
accomplished when it is discovered, on election day,
that changes in the city have narrowed the popula-
tion of the famous old 13th precinct to one voter;
and that is Barrymore. And. historically, the other
precincts always follow the lead of the 13th. You
can see where this puts Barrymore- He is promised
a job as school commissioner and incidentally falls
in love with a schoolteacher, Katharine Alexander.
Peter Holden and Virginia Weidler are the children.
52
SMILING ALONG-20th Century-Fox
IN England they pay Gracie Fields more money than
any other star and when you see this British-made
picture you will begin to understand why. The
story, of course, is not purely for American con-
sumption and thereby suffers somewhat, but try to
stomach the desultory pace and the sequence dis-
tortion for the value of Miss Fields' genius. In this
picture you are regaled with the account of a show
troupe, led by Fields, who find their manager is
chiseling them and strike out for themselves. Roam-
ing the countryside, they go from country to house-
boats on the Thames to a fun-house, which is the
climax. Gracie chants "The Holy City" with a choir,
puts over swing in "Swing Your Way to Happiness"
and generally has fun. So will you.
CHARLIE CHAN IN HONOLULU-20th Century-Fox
UHARLIE CHAN'S newest adventure deserves
special mention this time because it is the first since
Warner Oland, immemorial Chan, died. Sidney
Toler takes his place as the bland Chinese detective
and he does not try to imitate Oland; rather, he has
created Chan in his own fashion. The result is star-
tlingly good. Chan is awaiting the birth of a grand-
child when he hears there has been a murder on a
ship. He goes aboard and finds that in addition to
a body there are some pretty special passengers: a
woman with S300,000 to deliver to the murdered
man, a psychiatrist, the body's widow and any num-
ber of other suspects. All we can say is, bring your
smelling salts. You'll like Layne Tom, Jr. as Chan's
"No. 5 son" and Claire Dodd as the widow.
• PARIS HONEYMOON-Paramount
I HE Crosby pictures certainly maintain a standard
of entertainment. This one is frothier than the very
fine "Sing, You Sinners," but in its sphere is of
high degree. The Bing has developed what we think
should be called "Crosbian Humor," since it is
purely individual: dry, happy and superbly mod-
ern. This time he is a rich cowboy (gold-mines)
who starts to marry Shirley Ross, (heiress) only to
find her divorce isn't final. While she gets it in
Paris he proceeds to their honeymoon castle and
there meets delicious Franciska Gaal. who is a peas-
ant girl and queen of the rose festival. He there-
upon succumbs to her allure. Miss Ross returns to
snatch him back but in the end Franciska triumphs.
That one has sex with a smile; watch her.
AY ES YOUR PICTURE TIME AND MONEY
THE BEST PICTURES OF THE MONTH
The Beachcomber The Great Man Votes
They Made Me a Criminal Kentucky
Paris Honeymoon Stand Up and Fight
Wings of the Navy Zaza
BEST PERFORMANCES OF THE MONTH
Charles Laughton in "The Beachcomber"
Elsa Lanchester in "The Beachcomber"
John Barrymore in "The Great Man Votes"
Walter Brennan in "Kentucky"
Sidney Toler in "Charlie Chan in Honolulu"
Terry Kilburn in "A Christmas Carol"
Bing Crosby in "Paris Honeymoon"
Franciska Gaal in "Paris Hdneymoon"
Gracie Fields in "Smiling Along"
Robert Taylor in "Stand Up and Fight"
John Garfield in "They Made Me a Criminal"
Claudette Colbert in "Zaza"
• THEY MADE ME A CRIMINAL-Warners
DY this time you may be pretty fed up with the
Dead End Kids. You may feel, justifiably, that they
have stopped being amusing and had better just
have a bath and a good spanking. But here they
are again, whining and irritating and slit-eyed, co-
starring with Warners' new find, John Garfield. The
picture is tailor-made and in it Garfield plays a
fighter who is quite tough, at first. He doesn't like
anybody and feels that the milk of human kindness
is just so much sucker-juice. Then his racketeering
in the ring catches up with him and he flees, penni-
less, to a Western fruit ranch. The Dead End Kids
are there.
Slowly but surely, Garfield begins to regenerate:
he sees the need of the boys for a champion and,
when in the end it is necessary for him to risk his
freedom for their sake, he does not hesitate. Rather,
he sails in and puts up a fight (with a visiting
boxer) that will go down in film annals.
Garfield, of course, is an accomplished actor with
the ability to adapt himself to almost any cinema
circumstance. You believe in him as a fighter, just
as you believe in him when he makes love to Ann
Sheridan. Men of his type sometimes get over more
sex implications than do matinee idols.
You will like Claude Rains as the persistent de-
tective who follows Garfield across the country and
who eventually has to make the choice between his
duty and a new-found admiration for John's new
personality. There is no sentimentality in any
phase of the story.
• STAND UP AND FIGHT-M-G-M
THERE must be something about Bob Taylor that
makes his studio go to extremes. He was a pretty
boy for too long. Now, by golly, he's going to be
a Right Guy to the hilt. Bob's bearing up well, as
a matter of fact: you will understand when you see
him in this roaring melodrama of America's early
days. It's a good picture. The story is fast and
well-knit, the production is great and there is plenty
of action.
The themes are so varied and so multiple it is
hard to choose that one most important to the story-
but it's all laid against a ructious background of
rivalry between the old stagecoach tradition and
the new railroads in early Maryland. Wallace Beery
plays the rough-and-ready operator of the stage
fine and gets some humor into the part. Taylor is
cast as a proud young Southerner who loses his
estate at the gaming tables, gets into a fight and is
tossed into jail. Been.' buys his sentence and gets
him for a work slave. Taylor pulls himself together,
gets all muscled up as a result of his hard labor,
works off his fine, beats up his boss and falls in
love with Florence Rice. She is co-owner with her
aunt, Helen Broderick. of Beery 's stages.
Through this emotional melee runs the exciting
story of slave running in an underground railway.
Miss Broderick turns in her usual caustic perform-
ance. Florence Rice looks lovely and Charles Bick-
ford and Barton MacLane are the heavies. It's all
great stuff, entertaining and sometimes powerful.
(Continued on page 96)
53
1
And was Mickey's face red when he
had to appear in this get-up for
"Huckleberry Finn" — what's worse,
practical-joker Rooney was framed
American history gets a boost and
dictators a nose-thumbing as the
movie lots buzz with rebellion and
new picture thrills get under way
HOLLYWOOD is beginning to talk back to
the dictators. At the same time, the
movies are going American in a big way.
Almost everywhere we stop this month we
find a cinematic Declaration of Independence
brewing. There's a reason, of course. Amer-
ican pictures are already banned in most dicta-
tor countries. With no totalitarian profits to
gain, why should Hollywood worry about totali-
tarian prophets?
"Idiot's Delight," set aside once by Musso-
lini's imperial frown, heads the Metro-Goldwyn-
Mayer line-up of new pictures in the make. 'The
Forty Days of Musa Dagh," another verboten
script, is being dusted off to shoot soon, whether
Turkey likes it or not. Warners have "Concen-
tration Camp" and "Confessions of a Nazi Spy"
ready to roll any day. All the old taboo tale .
including "It Can't Happen Here," are again
creeping olT their shelves for consideration as
the rebellion roars.
It's quite an about-face, after all these years
of headaches over what foreign Caesar will be
offended and where. One of the main results is
emphasis on motion pictures for Americans.
Red-blooded native history is the order of the
Hollywood day.
Paramount's "Union Pacific," Warners' "Dodge
City" and Walter Wanger's "Stagecoach" are
just a few star-spangled screenplays we find
being film fitted around the lots.
"Idiot's Delight," at M-G-M, is really a pierc-
ing indictment of war-mad nations. The Robert
Sherwood play which, decorated with ultra-
modern comedy, handed the Lunts so much fun
on the stage, now is doing the same thing for
Clark Gable and Norma Shearer, who take the
laughable leads — Clark, as the hardboiled
vaudeville hoofer; Norma, as the acrobat turned
phony countess.
We're lucky enough to cut in on the climax
of a running rib on Clark Gable the day we visit
the set. All his Hollywood pals — and Carole
Lombard — have been making life miserable for
him ever since they learned he had to do a soft
shoe dance in front of a chorus of barelegged
cuties.
Carole had sent him a ballet costume just the
day before and the wisecracks have so ganged
up on Clark that, right now, ready to go into
the dance he's* been preping for ages, he is fit
to be tied.
We've never seen Clark so jittery as he is now,
done up in a tight striped theatrical suit and
with a wide straw hat cocked on his head. The
beautiful chorus babes surround him in the
wings of a striking lobby set where Norma
Shearer, in a straight blonde wig and a cigarette
holder a yard long, sits with Edward Arnold, Pat
Paterson, Charles Coburn and the rest of the
cast. They're whispering and grinning expect-
antly and Clark knows it. His debut as a hoofer
54
«'1 • n,..., ..m
*
'immmm^md
fefl 1
Ma
=r fl
ASSISTE
INCE;
»-c
It had to happen— and it'd
better be good — Charlie Mc-
Carthy, Edgar Bergen and
W. C. Fields square off old
scores in Universal'* "You
Can't Cheat an Honest Man"
/_y
m&^
WfMKX^
STUDIOS
JACK WADE
ias been billed in advance. Half M-G-M is on
ie side lines. Clark looks very, very unhappy.
Director Clarence Brown's "Let's rehearse
t!" starts a record playing "Puttin' on the Ritz,"
nd the barelegged chorines bounce into a time-
tep. Wearing the most sheepish grin, Clark
;rabs his cane and struts out onto the lobby
loor. Everybody cheers!
We're no expert on eccentric terpsichore, but
he boy isn't bad at all. He twists and wiggles
nd bucks wings before the line of kicking legs,
fever before in his life did he-man Gable do
ance steps like these.
Of course, he muffs the routine the first time,
nd the next, and the next. The chorines have
t down perfect, naturally, which burns Clark.
I can't learn it in two months," he explodes,
and you kids pick it up in ten minutes! Gosh,
iut I'm dumb!"
But in a minute his embarrassment wears off
ind the Gable snappy dance routine is a per-
ect take.
"Okay," shouts Brown. Then the deluge!
Howers fly out at Clark's feet from Carole, from
everybody he knows. Messengers arrive with
:ongratulatory telegrams. You'd think he'd just
won an election.
Clark doesn't mind the gags a bit — just wipes
tiis perspiring brow and grins. So will you
ivhen you see him doing the dipsy-doo.
There's another major embarrassment going
HMMBk
*v.
*w
«%
.
X
"Three Smart Girls" made a star of one smart girl. That's why Deanna Durbin listens so
attentively to Director Koster's instructions for the sequel, "Three Smart Girls Grow Up"
55
on next door on (ho "Huckleberry Fii
where Mickey Rooney is bringing to life Mark
n's little Mississippi River roughneck.
They're trying to dresa Mickey up La ■ long
r Hubbard and ■ luiibonnet and Mickey
i.s kicking like a mule.
It's the scene where the runaway Huck steals
Into town disguised as ;i gill to unravel the
ry of Nigger Jim, if you remember your
Huckleberry Finn. We arrive just as Richard
Thorpe, the director, is attempting to get the
feminine rig on Mickey. William Frawley,
Walter Connolly and Elizabeth Risdon think it's
very funny, but .Mickey (they call him "Mickey
Finn" on the set now) i.sn't worried about their
chuckles. He blurts out his real woe.
"Okay," grumbles Mickey, "I'll wear the darn
But you've got to promise not to let Judy
Garland on the set. If she sees me in this, my
reputation is mini
While Mickey stews, a little mutt dog looks
up wondering what it's all about. He's "Hobo,"
the only mutt ever to crash the movies. When
the company was on location. Hobo, who be-
longs to a Chinaman, accidentally strayed into
several scenes. They didn't discover it until,
back in Hollywood, the rushes showed up the
canine lens crasher. Then they had to send for
Hobo, write in a part for him and hand him a
contract!
We watch Mickey Finn mince through his
scene, squeaking in a girlish treble, "Oh, sir,
don't make sport of a poor little girl!" It's hard
for us to keep from spoiling the scene with a
snicker. When it's done, Mickey rips off the
sunbonnet and slams it on the floor. Then a
duet of feminine laughter peals out. Mickey
whirls as if a bee had drilled him.
Cecilia Parker and Judy Garland, doubled up
with laughter, are pointing at Mickey. They've
been hiding through it all, watching.
"Oh. Mickey," bubbles Judy, "you look so
cufe.'"
"Aw, gosh," grunts Mickey, supremely dis-
gusted. "Framed!"
PHOTOPLAY
vtfnA-
BY GWENN WALTERS
Ready for the races at Santa Anita. Claudette Colbert, now appearing
in Paramount's "Zaza," wears a contrast suit of vivid green, red and
blue plaid and black woolen selected from Saks Fifth Avenue, Beverly
Hills. Claudette combines it with a cashmere sweater, a tricky felt
hat designed by Robert Galer of Hollywood and suede accessories.
We photographed Claudette in the garden of her Beverly Hills estate
NATURAl COIOR PHOTOGRAPHY BY PAUt HESSE
"Broadway Serenade" is our next M-G-M
set. It's the picture that pairs Jeanette Mac-
Donald with Lew Ayres romantically, the big-
gest step yet on Lew's sensational comeback
trail. With Jeanette around, you might guess
it has something to do with music. She's a
singer who rockets to fame while husband Lew
remains a poor composer. Oddly enough, Lew
Ayres actually is a composer, with a symphony
suite to his credit.
It's a tearful "parting is such sweet sorrow"
scene we happen in on and when it comes to
love-making Lew is there. In fact, after the
third or fourth tearful farewell embrace, in the
little theatrical boardinghouse set, the electri-
cian makes a routine query. "Any kicks?" he
cries. He's really talking to the cameraman and
what he means is — are there any kicks of light
in the camera lens? Jeanette answers him,
laughing merrily. "No," she says, looking at
Lew, "absolutely no kicks!" Which makes it
official.
At Paramount, Cecil B. De Mille, the youngest
looking old-timer in the business, has finally
got steam up on his latest epic of Americana,
"Union Pacific." After "The Plainsman" and
"Buccaneer," De Mille rates our medal for the
number one glorifier of American rough-and-
ready days. We'll pick him, too, for the best
personal showman in Hollywood. He's the last
of the glamorous puttee and riding pants direc-
tors. Whenever De Mille shoots you get the im-
pression, somehow, that the whole Paramount
lot exists for nothing else but De Mille and his
picture.
"Union Pacific" tells the familiar drama of the
first transcontinental railroad. The love story,
played against this background, is between Bar-
bara Stanwyck and Joel McCrea. Barbara, in
her first De Mille picture, confesses to us she's
more excited about her job than she's ever been
in her life.
The Union Pacific Limited which Paramount's
set-builders have whipped up is split through
the middle like a watermelon — topless and side-
less.
In the scene we witness the red plush seats
are crowded with noisy card sharpers in flashy
vests and raucous filles de joie, rouged and
powdered, all headed for the easy gold of the
railroad camp.
Among them sits Barbara, talking to Robert
Preston, a handsome new Paramount leading
man. Army rifles decorate the coach wall — for
Indians. A sign over them, old and yellowed,
warns: "Do not shoot buffalo from the train!"
Well, we've never seen any buffalo on the Para-
mount lot, but you never can tell!
SOMEDAY soon, we hope, Claudette Colbert
will come back to these United States and stick
around, cinematically speaking. Seems like
she's been in Paris so many times lately — "I Met
Him in Paris," "Tovarich," and "Zaza."
"Midnight," her latest, goes on there, too, this
time in a very elegant French chateau at Ver-
sailles where we find Claudette, John Barry-
(Continued on page 83)
With red-corpuscled native his-
tory the order of the day, Joel
McCrea and Babs Stanwyck help
glorify the first transconti-
nental railroad in C. B. De Mille's
production, "Union Pacific"
•> i
. . . diaphanous gowns of chiffon gloriously tinted in floral
hues. Fuchsia, violet and orchid exquisitely combine in the
striped model (left) worn by Joan Valerie; graduated tones of
cyclamen in the quaint camisole gown (right) posed by Jean
Rogers. Designed for sweet slumber, their chic styling allows
them to masquerade as party gowns. They may be purchased
at the Saks Fifth Avenue shops in Beverly Hills, Chicago and
New York. MissValerieisappearing in "Kentucky," Miss Rogers
'■-, "Whilo Now York SlaatM " both Twentieth Centurv-Fox films
A buttercup yellow gown (left) high-lighted
by a corsage and coiffure clip of Talisman
roses; a forget-me-not blue one (above) with
matching opalescent embroidered jacket con-
trasted by a corsage of pink roses. Both
gowns have shirred bodices, waistline yokes,
flowing skirts and taffeta slips that softly
murmur when in motion — both are worn by
petite, dark and beautiful Maureen O'Sulli-
van, M-G-M star, who is appearing in Colum-
bia's "Let Us Live." Miss O'Sullivan's evening
gowns were created by Lilyan Graves, Los
Angeles; corsages by Halchester, Hollywood
It's the season again for
dressmaker ensembles. Pris-
cilla Lane, whose newest film
for Warner Brothers is "Yes,
My Darling Daughter," selects
one of printed and plain On-
ondaga crepe in classic black
and white. The coat has tux-
edo panels of white splashed
with black posies — the print
that fashions the tailored
frock beneath. Additional
smart style details are the
front and back bloused panels
and belt of reverse print.
Priscilla repeats the black
and white theme in her tiny
straw sailor. This ensemble
is on display at J. W. Rob-
inson, Los Angeles; Franklin
Simon's, New York; Carson
Pirie Scott & Co., Chicago
Wrlbournt
^H
.-aS-
■
■
■
iiV. sana
Olivia de Havilland, who'll next be seen in Warners' Technicolor
production, "Dodge City," chooses a dressmaker suit of navy
woolen individualized by jacket trim and blouse of tie silk boldly
striped in navy and white. Note the broad shoulders and loose,
flaring lines of the jacket, the drawstring neckline of the blouse.
This suit and the matching fabric chapeau were selected from Saks
Fifth Avenue, Beverly Hills. Add gay and colorful hats to your
basic spring frock. A yarn sailor (center), candy-striped in cyclamen
and white, worn with cyclamen gloves. A high-crown maize-col-
ored panama (bottom) with band and bows of navy French taffeta
ribbon embroidered in bright hues and, of course, a snood. Both
Francois chapeaux by Frank Borel. Worn with her sailor, Olivia's
basic one-piece frock of navy crepe, from Saks Fifth Avenue, Bev-
erly Hills, has interesting hand-fagot detail on blouse and sleeves
Rita Hayworth (above) wears a one-piece frock
of beige sheer woolen selected from Saks Fifth
Avenue, Beverly Hills. Scallops join the blouse
and skirt to a snug waistline inset of match-
ing crepe; the scallops on the skirt release
into ten gores that flow into a flaring hemline.
Rita's luxurious coat of Safari brown Alaska
sealskin (left), with broad shoulders, roomy
sleeves and collarless neckline, was designed by
Willard George of Los Angeles. "Voyageur,"
her Knox hat of fuchsia felt, is styled with
rakish brim and planed-off crown pierced with
a green link pin to repeat color of the crown
band. Rita found this newest Knox hat at
the J. W. Robinson Company, Los Angeles.
It is also on display at the White House, San
Francisco; Marshall Field, Chicago; Lord and
Taylor, New York. Rita is playing a featured
role in Columbia's current "Plane No. 4"
■.■•Jtr
Jean Parker (opposite page) steps from a
Nineteenth Century carriage wearing a
Twentieth Century costume influenced in de-
sign by the fashion of yesteryear. The broad- 1
shouldered, fitted jacket, checked in navy
and white, has contrast trim of navy woolen
to match the fabric of the pleated skirt
(which attaches to a short-sieeved shirt-
maker blouse of the jacket check). Red and
green quills pierce Jean's navy felt toque
and a snood holds in her auburn curls. Navy
suede heelless, toeless Tango pumps (far
right) and short white gloves complete this
costume chosen from Saks Fifth Avenue,
Beverly Hills, which is fresh as spring itself —
no wonder we titled it after the Hal Roach f
film, "It's Spring Again," in which Jean is
currently appearing. Columbia's "Romance
of the Redwoods" is Jean's next assignment)
Evans
AGAIN
WHERE TO BUY THEM
The r
shown here are to you at n lead-
ing department i U. S. right
Iress given below, S'
deicT- rping of the hat or garment, you will
be advised
:sed. The
popular shades.
' :■ —
Jea: . Fashion Secre:
:.'ew York,
New York
YOU WILL FIND IN THE SHOPS
Frances Mercer, who will next be seen in RKO's "The Castles," and Kay Sutton, cur-
rently appearing in RKO's "Beauty for the Asking," take turns modeling smart new
straws and felts. Miss Suiton poses in "Santa Anita" (left), which is a good bet for
your new spring knits. It is of soft felt in the newest of the pastel blues for spring,
aquatone, with striking suede trim in shocking pink and purple. It is a flattering hat and
classically right for spectator sports. By Roxford, and you know what that means.
Kay Sutton looks up in "Flamingo" (center). It is Roxford's version of the right kind of
sailor to wear with your new spring tailored or dressmaker suit. The silly little brim is
strictly on the level and the crown is just a shade deep, with an impudent rake "fore
and aft." It is made of straw braid, sewn with craftmanship that is a sure sign of a
Roxford hat. "Match Play" (below, center) is Byron's indispensable topnote for golfing
— lightweight navy felt, tailored with the precision only a man's hatter achieves. The
crown tucks, leather band and contrast suede disc trim lend a touch of femininity.
Frances Mercer wears this model with her casual clothes. Frances also wears Byron's
new mushroom-brimmed sailor of soft lattice braid straw (bottom), "Coral Gables."
Note the season's newest crown, definitely on the miniature side, and the print sash
PHOTOGRAPHY BY BACHRACH
STRAWS FOR STREET --• FELTS FOR SPORTS
64
PHOTOPLAY
MACAZIN C
FASHION
THIS TAG IDENTIFIES
AN ORIGINAL PHOTOPLAY
HOLLYWOOD FASHION
LOOK FOR IT
w
Hi
i mi
Wmm
,3
VHe
*'*Xyl«9
«s6*sas»s
P<3
ns'u f* Is ^tc/,: Tf"'s
e<W_ °%rs a »*rd?9, J"/> "'"9 A/ °"e o7 f Y c„"^ *h^n'
'*sA.
- ^ -•***£ d
"e/
JP*
4
^/ -< 9e*A/e »W 0r v°o/e
65
Pep up your winter coat with a lively print frock and
saucy spring hat as does Gail Datrick, whom you wilt
see in Paramount's "Grand Jury Secrets." Edith
Head designed her purple and white "Mother Hub-
bard style" frock; Robert Galer, her purple straw
sailor, frivolously trimmed with wisps of veiling and
cockade of spring flowers. Gail's topcoat (left) is
of black coney fur. A Paramount star, Gail will
soon make "Wagons Westward" for Republic
II ailing
66
MOVIES
Amid the rebellious era of Flam-
ing Youth, Melvyn Douglas fought
for the right to live and to love
BY HOWARD SHARPE
THE breeze said sullen, warm things in the
eucalyptus trees and there was no moon;
but there was white surf curling on the
sand and the air was clean, so that Anne's per-
fume— Melvyn Douglas can remember even
now the scent of it — faintly gave a questing
message. This was love, not as he had ever
known it could be but with the significance of
eternity (he thought) about it.
He rather wanted to marry the girl.
"Not," he said, as they stood on the beach that
night, "until all this is over — until things are
sane again and I'm mustered out of service —
but then. ..."
She sighed. It was the kind of a night for
sighing. "The Captain will be furious. I don't
care. Did you know I was supposed to be danc-
ing with him tonight?" She gave the next sen-
tence to him like something on a platter. "But I
wanted to be with you."
He twisted his sleeve so his new sergeant's
stripes would show plainly. "Let's not think
about the Captain."
"No."
* * * *
In the brightening dawn, hours later. Ser-
geant Hesselberg limped a little as he paced out
his guard duty. He was tired after a short
night's sleep and reeling with hunger. The Cap-
tain of the regiment appeared suddenly around
a barracks' corner and saluted.
"You look done in, Sergeant," he said. "Go on
to breakfast. I'll finish your stint for you."
Here was unexpected kindness. Melvyn was
too sleepy even to consider treachery. "Thanks,"
he said and went shuffling off to the mess hall.
He was stripped of his stripes the next day by
superiors who, on the advice of the Captain, felt
that a Sergeant who would desert his post was
better off as a First-Class Private.
Anne consoled him. But one evening he
stopped in at the Soldiers and Sailors Club and
saw Anne dancing with Judas. And something
turned upside down in his young heart. It's just
as well a group of politicians and generals were
even then pondering peace in an Austrian rail-
way car, since if hostilities had continued much
longer Melvyn, inspired to recklessness by his
bitter disgust, might have gone overseas and
been foolishly courageous. As it was. he ex-
changed khaki for broadcloth with no particular
(Continued on page 79)
From Shakespeare, to religious
revivals, to stock (below) was
the course of Melvyn's un-
charted rebellion against con-
vention and intolerance until, at
last, in the process of growing
up, his mental reasoning took on
a more intelligent aspect, de-
spite the fact that his emo-
tions were as muddled as ever
*
^_^(sJL^ AjL
EDDIE ALBERT
LOUISE CAMPBELL
^
FAY BAINTER
■BUNG him casually, you would never
think of Eddie Albert" as a Great Lover.
Still, at the preview of "Brother Rat,"
that moment when he first embraced Jane
Bryan (remember?) sort of sent thrills
chasing up and down your spine. After-
ward, we all said excitedly, "And did you
see him kiss that girl!"
When the lights went up we all craned
our necks for a sight of him.
But we didn't find him. He wasn't at
the preview. He wasn't even in town.
Having seen the picture previously in a
studio projection room, Albert had de-
cided he was a flop and now he was in
New York telling himself what a dub he
had been. Nor did the fact that Warners
already had lifted his option cheer him up.
He thought they were dubs, too. Motion-
picture fans the world over have changed
his mind for him — at least slightly.
Eddie's career began when, still a pupil
at St. Stephen's Parochial School in Min-
neapolis, a "strong man" in a vaudeville
show chose him from the audience to help
him in his act. From that time on, Eddie
was dedicated to the theater. So, after two
years at the University of Minnesota, he
went to New York to try his luck as an
actor. Eventually he landed a spot on the
radio as Eddie of the Grace and Eddie
team on the "Honeymooners" program.
Small parts in two or three stage plays
followed, after which he won the role of
"Bing Edwards" in the Broadway hit,
"Brother Rat," which ran for a year and a
half and resulted in his screen contract.
You would like Eddie if you knew him.
He is quiet, shy and has a way of blushing
when he talks to you. He is not married
nor even engaged, but he would like to be.
He admits it But he would have to do the
courting himself. A friend of mine who
knows him well says he would run a mile
if a female started to pursue him.
So, girls, you'll just have to wait until
he asks you. . . .
I HAD my pride . . ."
Pretty, raven-haired Louise Campbell
(yes, the heroine in Paramount's "Men
with Wings") laughed as she said it, but
there was a certain set to her little jaw.
She had been dutifully answering ques-
tions about herself; now she had come to a
significant and enlightening anecdote.
As the story goes, Louise's theatrical
nmbitions had taken her, in 1934, to New
York and a certain theatrical producer,
armed with letters of introduction.
"Please give me a tryout," she had begged.
He had done so, but, after she had read
about six lines, he had waved her out of
the office. ''Better go home and get mar-
ried," had been his parting remark.
"Well," Louise said now, "I didn't go
home and get married, t got a role in
stock in 'Accent on Vouth'" And suc-
ceeded so well, subsequent history proves,
that eventually she won the leaa in Broad-
way's "Three Men on a Horse. '
Yes, she's a stubborn little thing and she
has her pride. She's always been that
way. After seeing "Uncle Tom's Cabin"
at the age of six, she decided she would be
an actress. She never changed her mind
through the following years.
After graduating from St. Michael's
school in Chicago, she entered Northwest-
ern University and, later, the Chicago
School of Expression and De Paul Univer-
sity, absorbing every course in dramatic
art. It was the theater or nothing — and,
of course, she won out — a Paramount tal-
ent scout signed her for films.
Louise was married Christmas week at
her home in Chicago to Horace MacMahon,
Hollywood actor. Neither has been mar-
ried before. They met when both were
members of the "Three Men on a Horse"
but it wasn't until both were estab-
lished in pictures that they fell in love.
Louise says she doesn't exactly know
why that was. Maybe, she says, it was
the "Hollywood influence."
IT isn't Fay Bainter, the actress, who in-
terests me most, but Fay Bainter, the
woman.
She is married to a retired lieutenant
commander of the United States Navy and
her social position is unassailable. She can
play the great lady in real life with any so-
cialite in the country; yet she can deal a
game of black jack with all the finesse
(and perhaps monkey business) of a pro-
fessional gambler.
She is the mother of a fourteen-year-old
son, but to see them together you'd think
she were his kid sister. She plays with
him and his cronies every chance she gets.
She is crazy about dogs and owns half a
dozen schnauzers which she keeps at her
country home near Ossining, New York.
She is also crazy about poetry and will
read it aloud by the hour — to herself if no
one else will listen. She can write it, too,
and does, but not for publication.
She can whistle — no, not just the bath-
tub variety, but like a professional.
She can whittle — lovely little things of
the finest and most delicate workmanship
which would make a Japanese netsuke
artist green with jealousy.
She can play the harmonica and her ver-
sion of "The Last Roundup" is worth pay-
ing money to hear.
She is wild about shoes and owns 150
pairs. She plays marbles like a champion;
mumblety-peg, ditto. She collects music
boxes and now owns ninety-six of them.
She always drives her own car. She al-
ways gets up at seven o'clock in the morn-
ing— or earlier.
She is courteous and friendly to meet
and can talk equally well on politics or
gardening. She is interested in both. Also,
she seems interested in you and, when you
interview her, likely as not the first thing
you know you will find yourself telling her
about your appendectomy or the time you
got pinched for speeding; which (and is
my face red!) happened to me.
^tdLk.L*^ uUcrvx^t'
RICHARD CARLSON
HE is handsome. He can act. He has
ummmmmmph.
This was the verdict of "The Young in
Heart" preview audience concerning new-
comer Richard Carlson. They left the
theater wondering excitedly who he was
and where he came from.
Well, I can tell you something about that.
He was born in Minnesota and he is
twenty-six years old. His father is a prom-
inent attorney of Minneapolis. He is a
graduate of the University of Minne-
sota, has an M.A. degree and owns a Phi
Beta Kappa key. He has had a lot of ex-
perience writing plays and once had one
produced on Broadway — a flop, sad to say.
After he left school, he accepted the post
of instructor at his own Alma Mater, but
only until he could, with the aid of scholar-
ship prize money, organize a theatrical
group called the Minneapolis Repertory
Company, of which he was manager, di-
rector, author and actor.
It was a pretty good company and the
plays produced were pretty good, too, but
Richard forgot to advertise them, with the
result that soon his money was gone, and
with it the Repertory Company.
He flipped a coin then, and came to
Hollywood. However, he didn't win much
in the way of a fortune in our film citadel.
Discouraged, finally, he went to New
York and talked his way into a role in
"Three Men on a Horse." This led to big-
ger and better things and two years later,
when Selznick needed a Duncan MacCrea
for "The Young in Heart," Dick was ready.
He is an engaging young man, is Carl-
son. He seems to have his fingers well
crossed and to feel that, despite this ap-
parent success, he still is not exactly God's
newly discovered gift to the movies. . . .
"A swell break, I've had," was all he'd
say. 'T hope I get another."
He probably will!
P.S. Oh, yes, girls! I almost forgot. He
is not married!
ANN SHERIDAN
No woman likes to be told she lacks sex
appeal. Most women will do what they
can to disprove that accusation. Ann
Sheridan did. And thereby hangs this tale.
Ann had been in Hollywood for two
years and had had only casual success.
Then she left her home studio, Warners, to
appear in Universal's "Letter of Introduc-
tion" and practically stole the show. This
is the story back of her sudden success.
It began after a preview in which she
had i^een only "so-so." But she had long
resigned herself to the conviction that she
would never be a star. The friend with
her, however, had different ideas. He
said bluntly, "You've got as much life on
the screen as a piece of cheese — and about
as much sex appeal."
Ann's Irish temper flared. '"I'll thank
you to — " she began, but he interrupted.
"Yeah, I know. You'll thank me to mind
my business. But for once I'm not go-
ing to'." He didn't — the "dressing down"
lasted half an hour, ending when Ann,
speechless with rage, took a taxi home.
But when she cooled off, she began to
think. Perhaps. . . .
Well, a week or so later, she went into
"Letter of Introduction." You know the
rest. After that preview, her name was
news.
Incidentally, she's twenty-three. She
was born in Dallas, Texas, and is a de-
scendant of the famous Civil War general,
"Little Phil" Sheridan. Until a week or
two before she came to Hollywood, she
hadn't the slightest intention of becoming
a screen actress. She was going to be a
schoolteacher. But she won a beauty con-
test: a talent scout saw her: a screen test
and a contract followed.
While, on the screen, hers is the sultry
type of beauty, in reality she is quite the
opposite. Irish ancestry has bequeathed
her keen wit and the pro\-erbial Irish tem-
per. She is unusually athletic. She has
been married but it didn't "take."
WALTER PIDGEON
HE never gets the girl — at least, almost
never — and you wonder why. For he is
handsome (dark hair, blue eyes and an
engaging grin) ; he is tall (six feet, three) :
and he can make love a: well as any Great
Lover on the screen today. . . .
Meaning Walter Pidgeon. I should know
about his love-making. I saw them shoot
that scene in "I Take This Woman," where
he kissed Hedy Lamarr so convincingly
that the Hays Office banned the shot.
That Pidgeon guy has something!
He has been around Hollywood a long
time, off and on. He has flopped a couple
of times. But right now he has suddenly
become one of the most popular actors in
pictures with a box-office following that
even a Clark Gable wouldn't sneeze at.
Walter is a Canadian, the son of a
wealthy wholesale dealer in New Bruns-
wick. He was a student at the University
of New Brunswick when the World War
broke out. He enlisted immediately. After
the war, he went back to college and, fol-
lowing graduation, established himself in
a brokerage business in Boston, only to
meet some students of the Copley Dra-
matic School and become interested in the
theater.
It was during his early theatrical days,
as a member of one of Elsie Janis' com-
panies, that tragedy found him. His
young wife (a nonprofessional) died when
their daughter was born. For ten years
thereafter, Walter cared for his motherless
youngster (known as "Pidge" and whom
he adores) before he remarried. That
marriage lasted six or seven years, but
only lately has gone on the rocks.
No, Walter is not a "gay young blade.'
He is a little over forty and admits it But
having kept his waistline, his hair and his
sense of humor, and having acquired in ad-
dition the poise, the aplomb, the sophisti-
cation which only years and experience
can bring, he is a man to be reckoned with
t the box office or anywhere else.
Ccl York's Gossip of Hollywood
from page ~>1)
Dip Whirl Perfed
Umii
.md his
mot).' I with him. Slu- WU mar-
• the youth all
ight for a moment
long
1 the had b- ■ nival
trouper H« Latin love of life thona
in hi Hit Indomitable spirit
ity.
On the side lines they applauded the
■lick-haired boy and the woman who
followed his steps n effortlessly. And
whin it was over, the judges
George and his mother the $50.
That we say. a long time ago,
but that contest set George along the
road to success, as his mother had
meant it should. And at the top, at last.
he made his plans to repay her. He
would build her a house. They would
live there together. She would have
| thing she had ever wanted: every-
thing she had been denied through the
long, struggling years. George promised
her that and promised himself.
And then, just as the house was fin-
ished and she was making her plans
to travel West. George Raft's mother
died. She died in New York: in her
hand, a picture of the new home she
i have gone to so soon.
Todny. as we have said, this home
that was to have been hers is a ghost
house, swept by the chill and lonely
winds of the canyon, friendless and
alone. And out in front is a sign that
FOR SALE."
For George will never live there. He
says he can't.
Snapping the Shutter at the Stars This
Month :
GEORGE BURNS says he's unhappy.
Jack Benny says he hasn't a thing to
worry about, not even Mary's hats.
Joan Crawford says no reconciliation
with Franchot but a long European trip
in the spring — all by her lovely self.
Garbo says no George Cukor to direct,
no picture for her.
M-G-M says. "Why can't that girl be
happy just once?"
Columnists say Robert Taylor and
Barbara Stanwyck may elope.
Bob and Barbara say, "Why elope and
from whom? We're both of age."
Tyrone Power says. "Will I marry
Annabella? Yes, it's a fine day, isn't
it?"
Gee, Hollywood's Wonderful
"I
I WOULD rather be a milkman in
Hollywood than the town mayor any-
where el •
Our faithful deliverer of the cofTVo
cream bowled us over with this state-
ment yesterday morning.
he explained, "I can smile
at II rr every morning on her
way to work and she smiles back.
"You know something?" he added,
sensing our curiosity, "Miss Lamarr re-
ea her lines over and over every
morning. Out loud. too. It just hap-
pens her car and my trurk meet near
the corner of Canon Drive and Santa
Monica Boulevard every morning and
one morning I called. You're doing fine.
Lamarr, I can hardly wait t
the picture.' And she said. Thank you.
I hope you'll like me in it.'
"See," he added, "it's wonderful
ing a milkman in Hollywood."
CHOOSE THE BEST
PICTURE OF 1938
Calling all votes! Calling all votes! Here is your last
chance (3 select the winner of PHOTOPLAY'S Gold Medal!
THIS is your last chance to cast your
vote in the signal contest of the
year, the award of Photoplay's
Gold Medal for "The Best Picture of
1938." All ballots must be received on
or before March first. The polls defi-
nitely close on that day.
As heretofore, the conferring of the
Medal rests entirely with the readers
of our magazine. We naturally never
make a suggestion as to which picture
you should vote for; we merely list on
this page as many pictures produced
during 1938 as space will permit,
just to give your memory a chance to
go back over what you have seen dur-
ing the year. If your favorite picture
is not here, vote for it anyway; your
vote will be counted in favor of that
film.
However, we are always very curious
and enthusiastic when the votes begin
to roll in. We know that if you register
your opinion on a certain type of pic-
ture produced this year, the studios will
make more of that type next year. We
know that to Hollywood — producers,
directors and actors — your vote is im-
portant. So vote today.
(Due to the fact that the release of
"Gunga Din" was postponed until after
the first of the year instead of during
1938 as originally announced, we have
removed it from the list of outstanding
pictures on this page.)
TILL out the ballot below, or just write
your choice for the "Best Picture of
L930" on a slip of paper and mail it to the
Gold Medal Editor. Photoplay. 122 East
42nd St., New York, N. Y. There are
no rules to this contest. You vote — we
count — and then, in the May issue of
Photoplay, we will announce the win-
ner: the picture which wins the most of
your votes wins the Gold Medal.
Here is your opportunity to encour-
age better pictures. Don't forget the
polls close March 1st. Vote now!
OUTSTANDING
PICTURES OF 1938
Alexander's Rag-
time Band
Adventures of
Marco Polo, The
Adventures of Robin
Hood, The
Adventures of Tom
Sawyer, The
Algiers
Amazing Dr. Clitter-
house, The
Angels with Dirty
Faces
Arkansas Traveler
Blackwell's Island
Blockade
Bluebeard's Eighth
Wife
Boy Meets Girl
Boys Town
Bringing Up Baby
Brother Rat
Buccaneer, The
Carefree
Citadel, The
Cowboy and the
Lady, The
Crime School
Crowd Roars, The
Dawn Patrol
Dramatic School
Drums
Four Daughters
Girl of the Golden
West, The
Goldwyn Follies
Grand Illusion
Happy Landing
Having Wonderful
Time
Holiday
If I Were King
In Old Chicago
Ji 1 ■ 1
Joy of Living
Just Around the
Corner
Letter of Introduction
Lord Jeff
Love and Hisses
Love Finds Andy
Hardy
Mad About Music
Mad Miss Manton
Mannequin
Man to Remember
Marie Antoinette
Men with Wings
Merrily We Live
Of Human Hearts
Rage of Paris, The
Rebecca of Sunny-
brook Farm
Room Service
Shining Hour, The
Shopworn Angel
Sing, You Sinners
Sisters, The
Slight Case of
Murder, A
Snow White and the
Seven Dwarfs
Sweethearts
Submarine Patrol
Suez
Test Pilot
Texans, The
That Certain Age
Three Loves Has
Nancy
Three Comrades
Too Hot to Handle
Toy V/ife, The
Trade Winds
Valley of the Giants
Vivacious Lady
Wells Fargo
White Banners
Yank at Oxford, A
Yellow lack
You Can't Take It
with You
Young in Heart, The
I F H OTO P L A Y M E D A L O F H O N O R B A L LOT I
GOLD MEDAL EDITOR
PHOTOPLAY MAGAZINE
CHANIN BUILDING, 122 EAST 42nd STREET.
NEW YORK CITY
In my opinion the picture named below is the
best motion-picture production rolcssed in 1938
I NAME OF PICTURE
I
NAME
ADDRESS
hi
I D rather be a receptionist in Holly-
wood than a social leader anywhere
else,"' Photoplay's little redhead-at-
the-telephone-desk told us.
"Now, tell me," she went on, "where
else in the world could I answer the
phone and find Donald Duck on the
other end?"
"You're spoofing." we chided.
"I'm not. I tell you Photoplay's
phone rang yesterday and there was
Donald Duck in person, inviting us to
a party at Disney's Studio.
"Gee," she added, "it's wonderful an-
swering phones in Hollywood."
Our Sun, Our Sun
It was half-funny, half-pathetic, the
statement young Peter Holden (late of
the Broadway hit, "On Borrowed Time,"
now in RKO-Radio's "The Great Man
Votes") made about California's famous
sunshine shortly after his arrival in
Hollywood for the first time.
They were making stills of him at the
studio one day and after every shot he
would rush over to the thickly cur-
tained windows and, pushing them back,
would look out fearfully.
"Why do you do that, Peter?" the
cameraman asked the youngster.
"I'm afraid the sun will be gone,"
Peter explained.
Way Down East in Astoria
llOW that picture production is boom-
ing again in the East, current activities
at Eastern Service Studios in Astoria
have elicited much attention.
Starring Sylvia Sidney, ". . . one-
third of a nation . . ," is about ready
for showing, with Producer William K.
Howard now putting the finishing
touches to "Back Door to Heaven."
Both productions are highly budgeted
and will be distributed as outstanding
pictures by one of the major companies.
There is nothing glamorous about the
Astoria studios. The subway takes you
directly there and the studio itself is
surrounded on four sides by modest
Queens apartment houses. The huge
sound stage, like any Hollywood sound
stage, is merely a vast gray building, a
block square, looking more like a blimp
hangar than a stamping ground for
glamour boys and girls.
Stepping gingerly over a mass of
wires, cables, planks and incipient sets,
you soon find yourself in a corner of
the stage where Bill Howard is super-
vising the final scenes of "Back Door
to Heaven."
Bill is a sentimental Irishman with a
long string of screen successes to his
credit and a proclivity for hilarious
anecdotes. At the moment, however,
he is in dead earnest, for he is guiding
Patricia Ellis, Wallace Ford and Aline
MacMahon through ine climactio se-
quences of his picture and he's taking
no chances.
The cast of "Back Door to Heaven"
numbers numerous Broadway thes-
pians. The actor emotes before the
camera in the afternoon and tears the-
atrical passions to tatters in the evening
on the Great White Way.
In fact, the talk in New York now-
adays is all of pictures. Even visiting
Hollywood stars, fleeing the West Coast
for a change of air, arrive in the East
to find conversation tending toward
such abstruse subjects as camera an-
(Continued on page 91)
70
PHOTOPLAY
MEN FALL FOR
SKIN THAT'S
SMOOTH AND
SWEET) "
Protect daintiness — keep skin SWEET — the
Hollywood way. The screen stars use LUX
TOILET SOAP as a BATH soap, too. Use
it every day. Its ACTIVE lather carries away
stale perspiration, every trace of dust
and dirt. Leaves a delicate, clinging perfume
on the skin.
A
WHY ARE
SO MANY SO
j CARELESS ABOUT
DAINTINESS?
! _
1FT
■ 'A
9 out of 10
Screen Stars use Lux Toilet Soap
I
I V
VN
U7L
AAKES A i
UTY BATH THAT'S
JXURIOUS YET
X INEXPENSIVE
I ALWAYS
USE IT. IT
LEAVES SKIN
REALLY FRESH
ANO SWEET
1
V
S
S
I)
ITS A WONDERFUL
WAY TO PROTECT
DAINTINESS. [~
TRY IT '
STA* Of I HE ?""« CPMTUHT-FOX MOOUCTION
'Wlf%tiUSBAND AND FRIEND"
Can't Wait to Be Forgotten
(Continued from page 32)
town. When 1
mentcd on her (notability, iha sal I. I
don't think .1 star knows wfal
ht (or bar or him We i
I with an eye to our own
1 than to the story .is .1 whole The
ttudioi have done pretty well for mc.
They've made me an important star and
II they put
i my box-
I the returns on their in-
cut won't be .so good. Why
,-houldn't I rely on their judgment?"
Today, when I recalled tliis conver-
: ' 'l'erh. .ps I'd have been
better ofl 11 I had fou) lit for better
• lories, but the end didn't justify th ■
mean.s. I'd have been Suspended and
the t. under suspension would
have been added to the end of my con-
tract So. instead of being free now. I
would probably have had another year
to go. And. even then, I'd have had no
guarantee the stories I picked would
have been any better. Even if they had
been, the only difference would have
been that I would be retiring in a blaze
of glory instead of more or less incon-
spicuously— and this is the way I want
it. I'll be forgotten quicker this way.
"I
I HAVE never brandished a sword for
the Little Theater Movement. I have
never kidded myself about Art for Art's
sake. I went into this business because
I thought I could make more money in
it than any other.
"A man may manufacture automobiles
or tires. He may make better cars or
tires than his competitors. The knowl-
edge that he does may be a satisfaction
to him. but he doesn't do it primarily
for that reason. JJe does it because
that's how he can make the most
money. After he's made his pile, if he
has any sense, he retires and enjoys it.
That's the way I feel. I hold firmly with
the theory advanced in 'You Can't Take
It With You.*
"I've done everything I set out to do
and now I'm going to enjoy myself.
I've given ten years of my life to ac-
cumulating enough money to do the
things 1 want to do. Ten years of never
being able to travel when I wanted to,
never being able to entertain when I
wanted to, or go out when I wanted to
■ — because picture schedules always had
to be consulted before I could make
plans. Now, I'm free!
"My mother's future is provided for.
I built a house for her and furnished it
without her knowing anything about it.
When it was all done I planned to move
her into it on her maid's day off. The
maid, instead of taking the day off. went
over to the new house. I had picked up
Mother's dogs the day before and told
her I was going to take them to the
veterinarian to be washed. Instead, I
took them to the new house. Then I
took Mother driving and when we
d the house I said, 'That's a cute
place. Let's go in and look at it.' Her
own maid answered the bell. Her dogs
jumped up and down in welcome. I had
arranged to have her best friend drop
in for tea.
"Afterward, the friend slaved with
her when I left and I went home to tele-
phone her 11 from me was the
first she received in her new place. I
established a trust fund for her when I
first began making important money, so
she is taken care of.
"As far as I, myself, am concern.
have just recently built the sort of house
I've always wanted. It's what you might
call 'a big little house' or 'a little big
house' It's all paid f.ir and I I
managed Id sa hat I
• ■ ■ p 11 up on my in.
It isn't an expensive place to run and
the investment isn't so large I can't af-
ford to close it up when I want to go
though Tm thrifty enough to
! ublet it, probably."
What about your forthcoming mar-
1 bluntly.
Kay laughed. "I honestly don't know
when it will be. If I did know, I
wouldn't tell you— but I honestly don't
know. When I am married it will be
private citizen of no consequence.
1 won't be in the limelight any more
. od there is no reason my wedding
should be given more than passing
comment. It won't be immediately,
though. I have rented my house be-
I intended going to Europe. On
Santa Barbara and San Francisco but
I could never see them as often as I
wished. Now I can renew all those
friendships.
"I've been fortunate in acquiring more
real friends than most people have. I
think they are fond enough of me that
they'll still enjoy seeing me whether
I'm prominent or not."
I HAT last scene had been finished dur-
ing this conversation and Kay prepared
to leave the set. "May I come along to
your dressing room and finish this con-
versation?" I askid.
Kay looked at me for a moment and
her eyes misted.
"I have no dressing room any more,"
she said simply. "I purposely gave it
up about a week ago. For the past
week I've been going to the make-up
ture pictures. I plan to be gone indefi-
nitely and it may be that when I return
no one will want me. But, as I told
you before, if a producer should offer
me a good part when I'm in Hollywood,
I'll jump at it.
"The second thing concerns my age.
When I first came out here I was under
contract to Paramount. I have never
been sensitive about my age and was
perfectly willing to have it published.
But Paramount said 'No!' They merely
publicized the fact I was born on Fri-
day, the 13th of January. Reporters
consulted almanacs and found the 13th
of January fell on Friday in the years
1899 and 1911.
"One made me younger and the other
older. They arbitrarily selected 1399 as
the year of my birth. Actually it was
1905 and I am 34.
account of conditions there I am going
to take the South Seas cruise instead
and when I return I will have to live
in an apartment until the lease on my
house expires.
"When I built the house I had no in-
tention of being married and now, when
the lease expires, it will have to be re-
modeled slightly in order to provide ac-
commodations for Erik. But whether
we'll be married here in Hollywood, in
New York or eventually, in Europe, I
still don't know.
"Erik Barnckow, whom I'm going to
marry, is in the aviation business. His
interests necessitate his spending six
months of the year in Europe and six
months here.
"We'll take side trips during the time
we're abroad and of the six months
we're in this country some of the time
will be spent in New York (which I
adore) and some of the time here in
Hollywood.
"I have many friends in New York
in no way connected with pictures.
When I first came to Hollywood I had
outside friends here, too, but it is al-
most impossible to keep up those friend-
ships when you're working. When I've
been in New York it has been on va-
cations, so I've been able to do as I
please, but in Hollywood it has been
different. I used to have friends in
department every morning and using
the dressing room here on the set. I
didn't want to become maudlin or sen-
timental.
"This is the first picture I've finished
out here that I haven't had a party for
the cast and crew afterward. But this
time is different. I knew I'd start cry-
ing and so would some of the others.
I didn't want to say good-by that way.
I want to remember all these people as
friends with whom I used to kid — with
whom I had swell times. I don't want
to remember them — or have them re-
member me — with long faces and red
eyes. I want to saunter off the lot and
out of their lives as casually as ihough
the picture weren't finished and we'd
be meeting again in the morning."
She faced me suddenly.
"Dick, there is one favor you can do
for me. There are three things I would
like cleared up before I'm the 'For-
gotten Woman.' As a private citizen
none of them is really important, but
the public has been kind and loyal to
me and I don't want to leave it under
any misapprehensions. The first thing
is my retirement. Please emphasize that
I have never — despite anything they
may have read to the contrary — said I
will ?ierer make another picture. I have
only said I will never sign another long-
term contract. I have no plans for fu-
"The last thing concerns my mar-
riages. Reporters insist I have already
been married four times and this will
be my fifth. When you've been married
that many times, one more or less
doesn't matter, but I have actually been
married three times and this will be my
fourth. I'm not trying to make excuses
but two of those marriages and divorces
took place before I was 22. The first
was to Dwight Francis, the second to
William A. Gaston. My supposed third
marriage was to John Meehan, a writer.
When this news broke he sent me a
kidding wire: "When did all this hap-
pen? I must have been asleep or on a
trip around the world." He was dia-
logue director on my first picture and
while we're good friends we were never
married.
"The third marriage was to Kenneth
MacKenna and now this one to Erik
Barnekow."
She held out her hand.
"Good-by, darling," she whispered
huskily. "You've been awfully sweet to
me. Come and see me when I get back.
You — " Suddenly she dropped my hand,
turned and ran off the stage — out, into
her car.
I watched the car move down the
street and out through the studio gates.
My own eyes misted.
A star was dimmed.
72
PHOTOPLAY
u>&e/
roday's Debs Take EXTRA SKIN CARE -They Cream
EXTRA "SKIN-VITAMIN"into their Skin *
'• '"',V .
v
n the Ritz-Carlton's Crystal Garden — Margaret
liddle, Philadelphia deb, dances. She goes in for to-
lay's extra skin care ... "I always cream extra 'skin-
ritamin' into my skin by using Pond's Cold Cream."
Benefit opens Chicago's Opera Season —
Tita Johnson, season's deb: "Extra 'skin-
vitamin' in my daily Pond's creamings is just
common sense."
Date Book — Four parties in one evening! No
wonder Phebe Thorne, New York deb,
sleeps till noon. To keep that fresh, sparkling
look she uses Pond's. "I believe in it."
White Week End— Boston debs frequently week-end at Peckett's
in the White Mountains, (above) Adelaide Weld, debutante in
Boston and New York. Faithful use of Pond's helps keep her skin
smooth and soft. "It's so easy — I just cream my skin with Pond's."
Washington — Evalyn McLean chats between
dances at her family's mansion, "Friendship,"
rendezvous of international society. She chose
Pond's. "It's famous for smoothing skin to
give make-up glamour plus."
In Pond's Laboratory — Electrically driven pro-
peller* stir and mix Pond'i Cold Cream.
Vitamin A, the "skin-vitamin,"
is necessary to skin health. Scien-
tists found that this vitamin, ap-
plied to the skin, healed wounds
and burns quicker. Now this
"skin-vitamin" is in every jar of
Pond's Cold Cream! Use Pond's
night and morning and before
make-up. Same jars, labels, price.
Caprria-bt, lttt, Picdi Extract Cimmt
* Statements concerning the effects of the "»kin-\ itamin" applied to the skin are based upon
medical literature and tests on the skin of animals following an accepted laboratory method.
Tune in on "THOSE WE LOVE/' Pond'i Program, Mondoyi. 1:30 P.M., N.T. Timo, N.i.C.
1ARCH , I 939
73
Two famous designers, How-
ard Greer and Travis Banton.
Two famous stars, Ginger
Rogers and Carole Lombard.
This glamorous quartette was
photographed by our own
Hymie Fink at the recent
opening of the Greer-Banton
fashion salon, Hollywood
IN spring a young girl's fancy turns to thoughts
of clothes. Brand-new ones to match the
fresh, gay mood of the season itself.
Photoplay brings you Hollywood's side of the
spring fashion story direct from two of cinema-
town's greatest designers — Howard Greer and
Travis Banton — who, from their famous custom
salon, create clothes for the personal wardrobes
of the stars and the Southland's elite, as well as-
for motion-picture wardrobes on special assign-
ment. Howard Greer's is an old established
salon — Banton added his name to it shortly after
his resignation from Paramount Studios last fall
where he was head designer. Of course, you re-
member seeing the Greer models worn by
Ginger Rogers in "Carefree" and Katharine
Hepburn in "Bringing Up Baby." Likewise,
Banton's glamour gowns brought to movie fame
by Marlene Dietrich, Claudette Colbert and
Carole Lombard!
The spring fashion horizon, as seen through
the eyes of Greer and Banton, is one of the most
interesting and brilliant viewed in many a
decade!
This coming season there will definitely be no
set trends — no traditional "musts" — no pre-
scribed fashion laws. One will not have to wear
a .straw hat to be chic in 1939, or select a town
able of print, or one of navy with trim of
white pique, or wear patent pumps, or even
purchase a tailored suit.
In general, the trends will have a "little girl"
look because of the old-fashioned dressmaker
detail and the dainty femininity of line and trim.
Skirts for daytime will be a wee bit shorter; the
silhouette will be varied: there will be bloused
models in both frocks and coats: pleated skirts;
wee, Baring jackets and numerous modifications
of the bolero: classic drapery for afternoon and
evening gowns: corseleted and pinched-in waist-
eve shoulders that jut out or up by
means of shirrings, gathers, pleats or paddings.
Necklines will be variable. Many skirts will
boast flounces; the dinner suit, long or short. • ill
remain in great popularity; jacket suits, jacket
frocks and coat and frock ensembles will have
wider appeal than ever. Gaiety will persist in
play clothes, with stripes, checks and plaids out-
standing in the collections.
Hand-knit sweaters will see a smart re
BY GWENN WALTERS
and many will be seen in short dressy versions
for formal wear.
The latter ones will frequently be embroid-
ered with gay yarns or glittering paillettes.
Hats will have more brim and less crowns; they
will be made of exquisite fabrics as well as
felts and straws; they will be tied round with
plaid and velvet ribbons and novel veilings;
they will have a posy perched "now here, now
there"; they will be piquant and picturesque!
OHEER woolen will become an important fabric
for all daytime apparel as well as for evening
wraps and formals — this fabric will smartly
challenge the previous popularity of "crepe" for
spring. Prints, of course, will be shown, but
their greatest interest will lie in the medium of
tie silks.
They will fashion these tie silks into casual
frocks for wear under sport coats: into those
that will be w< rn with a companion co;.t or with
one of sheer woolen colored from one of the
lighter dominant figure notes of the tie silk;
and into the perennially important "coat dress."
The so-popular coat dress will boast a brand-
new picturesqueness in its spring interpretation.
Its styling will have a quaint femininity. Like
all the clothes in the Greer-Banton spring col-
lection, it will have a "dressed-up" look, for
these two men stress femininity in women's
fashions.
Likewise, their redingote ensembles stress
femininity. Colorful coats top frocks of con-
trast sheer woolens or, as mentioned previously,
those of silk.
The soft little dressmaker suit of sheer woolen
which allows feminine styling as well as the
addition cf bits of froufrou and a chapeau that
is veiled and flowered and flattering is more in
the mood of the season than the strictly man-
nish tailleur. The former suit is more becoming
and yet it embodies all the essentials of smart
street grooming.
Even sports frocks heretofore plainly tailored
for ease and action will take on a new feminine
glory. For example, Greer and Banton suggest a
shirtmaker frock of tie silk in shaded blues with
collar and cuffs of white hand-embroidered
batiste edged with lace — or one of pale green
woolen (green in all its shades is the color news
for spring) styled "jumper fashion" with
a contrast blouse of pale yellow hand -embroid-
ered linen edged at neck and sleeve with narrow
baby lace.
Sport tweeds are as important as ever this
spring. Stripes, subtle colorings and soft, open
weaves are the high lights of these tweed col-
lections. One of the loveliest color combinations
I saw was of lettuce green, soft pink and mauve.
Tweeds will be featured in greatcoats and in
separate jackets that will top plain skirts that
have plucked their coloring from one of the hues
in the jacket tweed. Greatcoat.; will stress
shoulder yokes and back flares — jackets will
stress ample draping and long lines.
Greer and Banton, of course, favor the little
jacket suit of navy. But they accent it with a
colorful blouse of red and white checked ging-
ham instead of "yesteryear's must" — white
pique.
In summary, Greer and Banton feel that fash-
ion this spring will reveal all there is of beauty
in silhouette, color and fabric — that it will be
truly feminine, truly picturesque!
PHOTOPL/.Y
Play Truth and Consequences with Claudette
Colbert
'Continued from page 24 |
8. (Q) As a girl did you ever have ro-
mantic dreams of marrying some
famous personality, and who was
he?
(A) Yes, I remember that I defi-
nitely thought I was the girl
for the Prince of Wales. When
he arrived in New York some
years ago I was one of several
students selected from our
school to greet him at an offi-
cial luncheon. I went repre-
senting the French children of
the school and presented him
with an American and a
French flag and for months
afterwards I went around in a
daze. I reminded him of the
incident recently when I met
him in Europe, as the Duke of
Windsor, but alack — he didn't
even remember!
9. (Q) For what particular devilment
were you most severely punished
as a girl?
(A) For talking back to my mother.
I always wanted the last word
— she still criticizes me for it.
10. (Q) Do you feel fans are disappointed
in you when they see you in
person?
(A) Fm too busy worrying about
how I look to feel anything.
What attempt in your life turned
out to be the saddest fiasco?
Miss Colbert took the conse-
sequences. (Draw a picture of
yourself.)
2. (0) Have you ever been guilty of
laughing in church and what was
the occasion?
(A) No. I was brought up too
strictly for that.
13. (Q) What has ever caused your hus-
band to put you "in the dog-
house" for a time?
(A) I am always forgetting to tell
him ahead of time about din-
ner parties we are going to at-
tend.
14. (Q) How well do you keep a secret?
(A) As well as the average woman.
15. (Q) How do you react when your hus-
band makes an admiring remark
about another woman?
(A) If I like her too, it's okay, but
if not — well!
16. (Q) Do you consider yourself ar\ easy
person to get along with?
(A) Yes, because Fm one of those
lucky people who just happens
to have a good disposition.
17. (Q) What role have you secretly de-
sired which was won by another
actress?
(A) Mary of Scotland — I was ter-
ribly envious when Katharine
Hepburn played it.
18. (Q) Do you wear false eyelashes off
the screen?
(A) No, they're too much trouble —
and you can always tell that
they're false, anyway.
19. (Q) Before you were married were you
inclined to be flirtatious?
(A) No. I have a horror of flirta-
tious women.
20. (Q) Before your husband asked you to
marry him, had you already made
up your mind that you were going
to?
(A) Miss Colbert took the conse-
quences. (Let us publish a
picture of you without make-
up.)
21. (0) Should you adopt a child, what
would be your attitude later in
informing him or her of the adop-
tion?
(A) I feel it is only fair to tell the j
child as soon as he is old .
enough to understand — to tell
him before someone else does.
22. (Q) Which comedian amuses you most
and why?
(A) Charlie Ruggles, because his
timing is so perfect. It isn't
always what he says, but how.
23. (0) Do you like to get together with
close girl friends and talk about
other women?
(A) Yes, and I'd be fibbing if I said
differently.
24. (Q) What mannerism or style of
grooming have you changed to
please your husband?
(A) He's one of those men who
dislikes bright-red nail polish.
Ergo: I go colorless.
25. (Q) What one thing which you haven't
do you wish you had more than
anything else in the world?
(A) The part of Scarlett O'Hara in
'Gone with the Wind."
26. (Q) Are your charge accounts carried
under the name of Claudette Col-
bert or Mrs. Joel Pressman, and
which name do you prefer to" use
in your personal contacts?
(A) I always use Mrs. Joel Jay
Pressman and I am very put
out when business or personal
friends fail to address me by
this name. I feel that every
career woman in her private
life should use her husband's
name — for courtesy, as well as
sentimental reasons.
27. (Q) About what things are you most
careless?
YOU ASKED FOR IT!
Letters have poured in questioning, "Why don'! von pub-
lish more F.rrol FUmi -tori.-.'" So— LET '^ BUNT FOR
TRE VSl RE by Errol Flyiin will appear in the \pril i — nc
Hidden sold, pirate-' jewels, mysterious islands golden in
the sunset, all are here — and true, too from the (m-ii of
this remarkable young aetor-adventurer. You'll enjoy
ever* word of it
In April PHOTOPLAY
\\ Samuel GoMwyn's V I
— * , AHDBEA LEEDS now m =» We to you
The & - HoUvwooa star AHOB * ^ ^^ ,,
f through DOUBLEMjN^^ ^ Simpuc.tN,2<H>
'-dealers. Or
lot m a
7 satisfying its
, Millions do. Ge
Enjoy it aauj-
packages today.
MARCH. 1939
VOLUPTE
Him irilJ
you have
jour
INTRIGUE?
I ¥ Limit a dash of purple in your
beauty life. Wear Volupt'e 's exotic man t e-
tinged shade, INTRIGUE ! Wear it shame-
lessly shiny in that dazzling HUSSY of
a lipstick "H"... ^TO ' ' '/nfy J»o,( no
3JDIV1NI ■?? «<""// t»\ 'CjSlUlf U3CJ113 in
'suvsm /p (a inq ',,"[„ pttrftj v Jo
XQV1 -(f3.t0/ 1PCfl 111 'SS3]-U33C{S (jljos
ii jfud pjuo.n no,( sdvcjj)^ c
(A) I am constantly losing tin
handkerchiefs especially — at
the rata of two a day.
28. (Q) In selecting a list of Hollywood's
ten best-dressed women to include
you, where on the list would you
rank yourself, and why?
(A) Miss Colbert took the conse-
quences, (Write an essay of s
hundred words or more, a la
Bob Burns.)
29. (Q) At what, acting excluded, do you
consider yourself expert?
(A) Fishing! I cast a mean hook,
let me tell you.
30. (Q) What slang expression do you
most constantly use?
(A) "So what.''
31. (Q) What do you consider your least
attractive physical feature?
(A) My nose. It's not so much the
bane of my existence, but cam-
eramen don't like it much.
32. (Q) What do you weigh, and what
weight problem do you have?
(A) One hundred and fourteen
pounds — and I am constantly
stuffing to keep it up to that.
33. (Q) What percentage of your income
do you save?
(A) One-tenth.
34. (0) Has your happiness increased with
your income?
(A) Not particularly. Naturally I
have been able to enjoy more
luxuries and a greater feeling
of security, but happiness deals
with something more impor-
tant. Being happy is a talent
which everyone should try to
develop — and it can be devel-
oped without riches.
3idmoA
35. (Q) For what type of portrayal do you
consider yourself best suited?
(A) Miss Colbert took the conse-
quences. (From your own col-
lection grant us the most un-
glamorous photo taken of you
on one of your trips.)
36. (Q) What personal wish or like have
you spent the most money to
satisfy?
(A) I spend all my money on my
home ... it gives me more
gratification than anything else
in the world.
37. (Q) How old were you when you had
your first date, and what was it?
(A) I was seventeen and was in-
vited to a Masonic ball. The
poor young man was much
surprised when my entire fam-
ily came along, too. One or
more members of my family
always chaperoned me every-
where.
38. (Q) What do you think has been your
greatest handicap in your career?
(A) Neglecting to pose for suffi-
cient publicity pictures.
39. (Q) What do you think has been your
greatest asset?
(A) Always worrying about getting
good stories, rather than good
parts.
40. (Q) On what occasion and by whom
have you ever been told to "mind
your own business"?
(A) I always mind my own busi-
ness. I have a terrible curios-
ity about other people, but I
manage to control it.
41. (0) Was there anything about you or
your looks when you were a child
which caused other kids to ridicule
you?
(A) Yes, I had to wear little ankle
socks all year round as French
children do and the others
leased me — said it was because
my family was too stingy to
buy me stockings.
42. (0) When have you ever resorted to
tears to get something?
(A) Miss Colbert took the conse-
quences. (Write a verse about
La Conga, the dance being in-
troduced in "Midnight.")
43. (Q) Do you bestow a great deal of
attention on small aches and
pains?
(A) I used to — I was almost a hy-
pochondriac, but marrying a
doctor cured that.
44. (0) In case of a misunderstanding are
you quick to apologize or do you
wait for the other person to do it?
(A) I apologize immediately, be-
cause I can't stand friction.
45. (Q) Do you try to conceal your age?
(A) I can't conceal it, because it's
been published for twelve
years every place in the world;
but I would like to forget it.
46. (Q) Do you consider yourself an in-
formal person?
(A) About many things, yes . . .
but in some connections I pre-
fer to be formal. I dislike very
much to have people "drop in"
on me at home, for example.
I'm not good at potluck host-
essing ... it gives me the jit-
ters and all my friends know
it by now.
47. (Q) Are you spoiled?
(A) Not enough! I love to be
spoiled — especially when I'm
feeling sorry for myself. Then
I want lots of sympathy and to
be told that I'm right.
Penalty on Question No. 58.
This is a "consequence" Jean
Arthur thought up last month
— arrange your hair in its most
unbecoming style and have
your picture taken that way
48. (0) Do you fear death?
(A) Yes, terribly.
49. (<P) What is the least amount of money
per year on which you believe you
could live comfortably?
(A) Miss Colbert took the conse-
quences. (Since you admit, in
your answer to question 38,
that you haven't posed for
enough publicity pictures, let
us have a typical one of you
now.)
50. (Q) What are your plans for retire-
ment?
(A) I haven't any — I hope to go on
and on.
51. (0) On what subject do you believe
yourself most qualified to advise
someone else?
(A) Advice is awfully cheap and
about as unwelcome ... I
know, because I've received
lots of it and that's why I don't
give it now.
52. (0) When did you last make a faux
pas?
(A) Last evening, and that was the
third one yesterday. I am al-
ways making them — speaking
out when I shouldn't, stooping
to pick up something I dropped
instead of waiting for the gen-
tlemanly gesture of the man
with whom I'm talking —
bumped heads the result! Us-
ing the wrong fork, just be-
cause I'm absent-minded about
such things. The result — I
blush always and make foolish
stuttering remarks trying to
cover up.
53. (0) If you had a daughter of sixteen
would you allow her to smoke or
drink, or to go out unchaperoned?
(A) No. Decidedly.
54. (0) Is it easy for you to trust people
or are you inclined to be sus-
picious and on the defensive?
(A) I am very suspicious and on
the defensive . . . always have
been . . . and make dozens of
inquiries before accepting any
plan or business proposition
put up to me.
55. (0) Do you think women should dye
their hair to hide grayness?
(A) If they work for a living, yes.
56. (0) How do you act when being inter-
viewed?
(A) Very cagey, because I dread
being misquoted.
57. (0) Are you superstitious?
(A) Yes, I'm a wood-knocker.
58. (Q) Do you prefer the company of
men or women, and why?
(A) Miss Colbert took the conse-
quence Jean Arthur thought
up last month. (Arrange your
hair in its most unbecoming
style and have your picture
taken.)
59. (0) Do you believe women should take
an active part in politics, voting,
etc., and do you?
(A) No, and I have never voted
yet.
60. (0) What bad habit do you have
which annoys your friends?
(A) Slipping garlic into the soup
when I invite them for a i
French dinner.
76
PHOTOPLAY
1
■
Illusii
US107L-
There is something about her
that makes you think of
willow saplings swaying in the wind
...that something is known
as a Foundette
Designed to coax your figure into
youthful cunti. Tiii lighlueight
ml "Laitex" *Found«ie, uitb its
uonder-uorking new front pant I of
one-uay stretch "Lastex'" meth,
gires smooth control ottr abdomen
and diaphragm . . . tut still keeps
jt«» fret and lithe. Ertuiug hack.
Imported net bandeau top. Stylo
4313. At all bettor stores.
HtNSlNGTEAl. INC.. M
APOUS, NEW YOIK, CHICAGO.
'Vmn of "Lastex" yam
w/yuyyo
BY M U.N SING WEAR
PHOTOS R A PH IT LOUISE OAHL-WOLFE 'DRESS BY GERMAIN E NOI 7EIL • JEWELS HO* CLCA TtITT
* ON EAftTH ,
/
THIS fi P n I N G S
PARADISE SHOES
ARE \S liLAMDHDlJS
AS THE BEACH AT
WAIKIKI
Clamour — charm —
beauty — romance —
they've all been cre-
ated for you — fash-
ioned into this
Spring's Paradise
Shoes. You'll simply
adore this heavenly
footwear that so per-
fectly reflects the
spirit of the new sea-
son — and that's
priced so amazingly
reasonable !
The Randy — An open back,
open toe step-in of bisque
suede with the heel and
in-step of contrasting
copper calf. The interesting
cut-out treatment gives
this shoe added distinc-
tion—added smartness
The Garnet — Glove fit-
ting, because it's made of
stretchable patent leath-
er. This shoe is dotted
with tiny perforations,
relieved at the instep
by the new pumpkin-
seed cut-outs that ex-
tend down the
front.
The Toby— Interestingly spaced
per for at ions cover this lovely
•hoe from heel to open toe. The
Comfortable I .uigo flexible in-
step feature makee this pump
doubly important In your Spring
plans.
JK
\
/sAane/f aJtaa. Shoe Co. st. lou is
.Makers of I'aradi'e Shoes and Tango Pumps
ake&
Sonja Heme's New Prince Charming
(Continued from page 29)
because I wanted to do something dif-
ferent. I had done only solo numbers
for so long, I thought perhaps my audi-
ences would appreciate a change."
"I am sure they appreciate thi
murmured.
"As for choosing Stewart Reburn
. . ." she smiled again, "well, in consid-
ering possible partners, I could think of
only two, but one of those two was a
solo skater like myself which really
simmered the situation down to one
choice — the one I made.
"I had seen Stewart skate at Lake
Placid in the 1932 Olympics and again
at Garmisch-Partenkirchen, in 1936.
He was paired with a Canadian girl
named Louise Bertram and I never for-
got him. He had, as you say, 'what it
takes,' not only as a skater, but as a
personality. And so . . ." she made a
little gesture with hands and shoulders,
"I wired him in Toronto and asked him
to meet me in New York upon my re-
turn from Norway last summer. He
met me there and the agreement was
made."
"Did you skate together before he was
signed up for the Revue?" I asked her.
"No," she said and the dimples played
hard in her cheeks. "I suppose it was
very unbusinesslike of me, but I was so
sure we should get on perfectly, and
there was no ice available just then, and
so . . . well, actually, we never skated
together until just two weeks ago to-
day.
"I'll admit," she added, "that I was a
little nervous the day we met in the
Palace, here, for our first rehearsal. But
it worked out all right."
IES, it "worked out all right." A friend
of mine who had witnessed that initial
rehearsal told me it "worked out" from
the instant those two joined hands on
the ice.
Sonja had selected the music and had
planned the steps they were to do. "I'll
show you," she said to Reburn. But al-
most before she finished the first figure,
he was at her side, timing his own
strokes to hers, sensing, as only a
trained pair-skater can, what would
come next. And before that brief hour
was over, the Gade tango was a beauti-
ful thing to see.
"You're good," Sonja said simply,
when they had finished.
And he, blushing with pleasure at this
praise from the queen of all skaters,
withal he is himself a champion, replied,
huskily. "Thank you, Sonja. This is a
proud moment for me."
"And what about it?" I asked Sonja
on the night of the premiere. "Wouldn't
you like to have him in a picture with
you?"
Her answer was ready and frank.
"Yes, I would. I hope he can be in my
next."
And so, since Sonja is a young lady
who almost always gets her own way,
we might be seeing him at our neigh-
borhood theater one of these days when
the tour of the Hollywood Ice Revue is
ended. You can't tell. . . .
I ALSO met the young man in question,
that night. He has the clear complexion
and clipped speech of a Dick Greene.
His hair is light brown, thick and slick;
his eyes are gray and smiling; his mouth
full, yet finely chiseled. When he speaks.
he looks at you with engaging direct-
ness; when you speak, he listens with
flattering attention. He is of medium
height and finely proportioned. If too
tall, he would appear incongruous be-
side the diminutive Sonja.
The two of them met in 1934 on a
Saturday afternoon at a waltzing ses-
sion in the Toronto Skating Club. Sonja,
then an amateur, was there to headline
the Toronto carnival. Howard Ridout,
president of the club, introduced them.
Young Reburn remembers all of this
perfectly. He remembers, too, being
so thrilled that he stumbled over his
skates "like a clumsy lout." Of course,
they had seen each other skate at Lake
Placid two years before.
"At least," he adds modestly, "I saw
her. Who wouldn't?"
It was a strange thing the way fate
brought him to Sonja's side and back
into skating. After winning a list of
championships a yard or so long, he and
his partner, Miss Bertram, captured the
Canadian Pairs Championship and the
Minto Cup which, he confided to me,
was their goal. They retired, then, un-
defeated, and Stewart, deciding it was
high time he made a niche for himself
in the world of business, started to sell
advertising. Then came the wire from
Sonja, the trip to New York, the Holly-
wood Ice Revue, a new life.
ROMANTIC? Of course it is! Two peo-
ple— so young, so attractive, neither in
love with anyone else, and they have
such fun together!
Naturally, I didn't ask them, "Is there
a romance in the offing?" Such a ques-
tion would only have embarrassed them.
But I said to myself, if there is not,
there should be.
si
HOW WELL I
DO
YOU KNOW YOUR HOLLYWOOD?
Ch
eck
your answers to the
statements
on
pac
e 1 ! with these correct ones:
1.
Donald Crisp
7. James Cagney
14. Richard Barthel-
2.
Gary Cooper
8. Gene Lockhart
mess
3.
4.
Ann Sothern
Charles Chaplin
9. Frances Farmer
10. Claudette Colb
15. Lionel Barrymore in
"A Family Affair"
erf
5.
Gale Page
1 1. Wayne Morris
16. Nancy Kelly
Ann Sheridan
12. Mickey Rooney
17. Shirley Temple
6.
George Raft
1 3. Henry Fonda
18. Richard Greene
19. James
Roosevelt 20.
Joan Crawford
78
PHOTOPLAY
Melvyn of the Movies
i Continued jrom page 67)
rejoicing and entrained for Chicago,
furiously convinced in his seventeen-
year-old mind that there was no honor
or justice left in the world and that all
women were inherently untrustworthy.
Melvyn Hesselberg had spent an en-
tire adolescence eagerly protesting
against an order of things that was con-
ventional and hidebound. Perhaps it
was his mixed ancestry . . . Edouard
Hesselberg, his musician father, was
Russian-born; his mother a Kentuckian,
with muddled English and harsh Scotch
blood in her veins. They were people
of a small world, of intense posses-
siveness.
In retrospect, Melvyn could remem-
ber many things that directly or indi-
rectly had influenced him: the Macon,
Georgia house, furnished for comfort
but not stylized; the music his father
made which frightened him; the new
house in Nashville; then a year in Ger-
many; there was being eleven and mov-
ing to Toronto; his attempt to join the
army at the age of fifteen and having
his father quietly obtaining his release;
and the girl from the burlesque show
he had met; then there was the break
with his family, back in Lincoln, Ne-
braska, in 1917; so there had been no
one to stop him from joining the army.
But the war had ended and now he was
on his own again.
WlTH the mad winter of 1918, his new
adult life began. He had gone to Chi-
cago because the break with his family
had been a clean one and he was deter-
mined to keep it so. There was that
winter, and his first job, which was
selling pianos, and the room he took:
faded wallpaper, stained bathtub, the
peculiar smell old rooming houses have;
and there was quitting the job, because
there wasn't enough work attached and
his conscience hurt at taking the money,
and there was the next job, in which
he read gas meters, and there was the
next job after that, as salesman in a
store.
He met William Owen then, through
the intervention of some strange provi-
dence. Owen was a retired stage star
with a penchant for helping young
theatrical aspirants; and he was im-
pressed with Melvyn, so that within a
week the boy was established comfort-
ably in Owen's residence, working at
sundry jobs to pay his way, and study-
ing Shakespeare under Owen's tutelage,
and eating at Owen's table, and gener-
ally being a pet protege of Owen —
which suited them both.
Thus, sheltered and protected, Melvyn
had the freedom of time and energy to
flounder with his fellows in the imme-
diate post-War mire. There were many
to keep him company, acquired through
Owen and Owen's circle, and there was
plenty of mire. His acquaintances were
sundry, but all of a kind of pattern;
they were young writers, artists, actors,
intellectuals with a leaning toward
much conversation, and they had spo-
radic creative intervals. They liked
Turgeniev, the early Greeks, gin and
four o'clock in the morning. They were
Chicago's Greenwich Village set and,
because of their vitality and the scope
of their ideas, they were good for
Melvyn.
He spent five years in Chicago. A few
things, names, events — vividly remem-
bered now — are typical.
There was the arrival of Prohibition.
Melvyn and his friends collected other
friends and all the money all of them
had and, having spent the resultant
large sum (there were 150 in the party)
on liquor, settled down to a celebrant
bender. It lasted three days, during
which a little over 100 of the guests
passed or dropped out of the group, un-
missed.
The remainder, led by Melvyn, were
still going strong on the last night; with
what change they had left, these heart-
ies trouped down to the Congress Hotel
where they found most of Chicago
tipsily lined up at the bar. At the far
end was a coffin containing the recum-
bent figure of John Barleycorn; and
the crowd was filing past to kiss him
good-by. This was not too sanitary a
gesture but it had its value, since, as
each mourner's lips touched those of
John, a squirt of liquor shot out to
cheer the parting.
NlNETEEN-NINETEEN drifted past,
with the main difference to Melvyn that
Shakespeare began to make infinite
sense and that Edouard Hesselberg be-
gan to have financial difficulties; where-
upon his son, with sudden renascence
of filial regard, felt he had better get
busy and make some extra money. This
was accomplished in the next year,
when Owen organized a Repertoire
Company, made Melvyn one of the
leads, and went on the road.
When that was over the good Mr.
Owen, whose health had failed, planted
his protege as first lead with John Kel-
lard's road company, at $60 a week.
Melvyn 's 1920 tour with the Kellard
company ended abruptly in Toronto,
where Melvyn found himself without a
nickel but with a wealth of experiences
to consider. These, however, were not
negotiable; and he was hungry. He
walked along the early autumn streets
of the Canadian city, his coat collar
up against the cold, his hands deep in
his empty pockets, and confronted
Crisis.
There were alternatives. He could
wire home for money, return to the
possessive Lena and Edouard. Or he
could call Owen collect. The first was
refuted by the decisive pattern that he
had been building in his mind through
the years; the second, by shame.
He stood staring into a shop window,
blind to the contents, trying to think.
A man. shabby and with a face that
showed only resignation and a disincli-
nation for the razor, came to stand be-
side him. After a moment the man
said, "I was going to ask you for coffee
money. Bud. But you're flat, ain't you?"
"How did you know?"
''Y' get so you can tell, after a while.
Listen. The cardboard from packages
is better in your shoes than the kind the
laundry puts in shirts, because of the
glaze. It lasts longer." After a moment
the man added. "No friends, Bud?"
"No," Melvyn said. Then he turned
to stare at the fellow. "Yes! I'd for-
gotten . . ." He reached in his pocket
and found a quarter. "Here. And
thanks."
Melvyn began to trot down the street.
He found a phone booth in a drug-
store. "Information," he said into the
mouthpiece. . . .
A moment later he was saying, "John-
nie, I punched your nose once at school
and now you're going to invite me to
dinner."
I HAT night, at dinner, he watched his
host plunge a fork into a plump roast
chicken and saw the golden juice of
chestnut dressing run out. His stomach
fluttered impatiently. "Now then," the
host muttered, carving.
By the open fire, afterwards, Melvyn
tylcce &i& guard against
body odor with this
lovely perfumed soap!
MEN DO FIND
YOU MORE
ALLURING !
WHEN, BEFORE DATES, YOU
BATHE WITH THIS LOVELY
CASHMERE BOUQUET SOAP !
X
ALL THE MOST POPULAR GIRLS
I KNOW BATHE WITH THIS LOVELY
PERFUMED SOAP ! FOR CASHMERE
BOUQUET'S DEEP-CLEANSING LATHER
REMOVES EVERY TRACE OF BODY
ODOR... AND THEN ITS LINGERING
PERFUME CLINGS — LONG AFTER
YOUR BATH, IT KEEPS YOU
FRAGRANTLY DAINTY !
THE V
oviuiBi^ m^Ihe cosu!!5«E«MI
MARCH
939
79
7 SECOND
MYSTERY
STORY
£&
HOW IN THE WORLD
DOES THE BOSS
REST WHILE
WORKING
SO HARD ? '
HERE'S HOW he does it. He
keeps a package of this famous
Beech-Nut peppermint gum on his
desk. What a pleasant way to
relieve the tension!
Beech -Nut
Vmt ih. BttchNui Building al th* KUw York
World't Fair. If you driv*, tlop al Canojohori*,
N. Y. and >•• how BsectvNul producti or* mad*.
nd blinked vaguely.
"But. I'm still in a spot," he
.viul "Nut lli.it I wouldn't like camping
in tin- middle of your dining-room
Hut what goes OS from hi
' Why not get a job in Toronto and
It's not m bad "
"A job?" Melvyn railed an eyebrow.
"I'm an actor. It's the winter season,
you know that "
Hi fi -fend .shrugged. "Those who
em't. comma, teach. You're stalled just
aa an actor. So teach other people
to be actors. Open a dramatic school."
There was a long silence, while Mel-
vyn considered. Then he said, "God
pity Canada's future crop of actors. I
will do it."
Three months later he sat in his
rooms, checked his resources, and found
he had been able to save a hundred dol-
lars. Methodically he cut two pieces in
the shape of inner soles of glazed card-
board from a package, put them away
as mementos of the summer and on the
of the package printed in block let-
ters: "Sorry. But you're in a rut any-
way." He opened the door and tacked
the sign in the middle of the panels, for
his students to find the next day. They
had not, after all, paid him for the past
week.
Then he packed his clothes and caught
the first train for Chicago.
I HE years blazed by, then, in a bright
procession: 1921, and the summer, and
the song that said, "Tomorrow, tomor-
row, how happy I will be," and the com-
munity house for actors at which Mel-
vyn Hesselberg lived, after the hundred
dollars was gone. The classical theater,
with stage and settings hand-built in
the back yard of the community house,
which he conceived and created with a
friend named Gale Sondergaard; and
the success of the theater, with resultant
prosperity and expensive hilarity.
That summer he met the girl who, at
long last, made him forget Anne. . . .
But she had Anne's propensity for
hurting him, so that in the following
winter he came one afternoon to his
room, once again packed his bags, called
the Chautauqua Troupe manager to ac-
cept the job he had offered and left on
tour that afternoon.
It was the end of the Chicago inter-
lude. Essentially, he was unchanged.
And it was 1922 — the Chautauqua
company was a kind of Evangelical So-
ciety arrangement, playing week-long
stands in tiny Wisconsin and Illinois
hamlets; through it Melvyn got a little
closer to raw America, the bigoted, the
intolerant, the childishly unsophisticated
America.
Observing with detachment, he found
that he had no feeling of scorn for the
country people whose ideas were so dif-
ferent. Rather, he caught himself
studying them, understanding their
viewpoints, liking and envying the sim-
plicity of their emotions.
The change, the growing up, was hap-
pening to him slowly. It would take a
shock-incident (which •would be in-
evitable, of course) to snap him clear.
But that would come later. . . .
AMERICA rolled full blast, shouting
gleefully, into its most prosperous dec-
ade. A young intellectual .Melvyn had
met earlier, named Ben Hecht, wrote a
play and got it produced. The manu-
script which another contemporary of
Melvyn's had been working on had been
published and now formed an endless
m in the windows of bookshops
across the nation: "This Side of Para-
read the bright jackets, "by F.
Scott Fitzgerald." "What Price Glory?"
asked theater marquees, everywhere.
uiahjong came in. and went out. Ra-
dios grew loud-speakers. And in Sioux
City, Iowa, progress came to Melvyn
Hesselberg when a modern stock corn-
May we present Mr. and Mrs.
Wayne Morris! The bride was
Bubbles Schinasi, daughter of
a New York tobacco importer.
Is Wayne the proud husband!
pany, full-rigged and really profes-
sional, hired him as leading man to an
experienced lady for $50 a week.
By the time, some months later, the
company was ready to move to Madison,
Wisconsin, his salary had been raised to
$65 and he was an official asset.
Although he could not know it, the
highly evolved personality toward
which he had been working was crys-
tallizing. His wild, uncharted rebellion
against convention was assuming an in-
telligent aspect, despite the fact that his
emotions were as muddled as ever. In
any case, he was shrewd enough, when
the chance came, to leave his job and
start his own stock company with back-
ing from friends.
In it he alternated the Up-In-Mable's-
Room type of thing with classic plays.
The experiment was pretty successful,
except that the farces, by the over-
whelming attention given them by Mel-
vyn's college acquaintances, had to sup-
port the Art, which went almost unat-
tended.
Nevertheless, this was accomplishment.
This was something to get his teeth into.
This was sufficient. . . .
UNTIL, on New Year's Eve, 1924 and
the final adjustment of Melvyn Hessel-
berg to the social order in which he
lived were ushered in simultaneously
with the banging on his apartment door
of the Madison, Wisconsin police.
He had, earlier, met an architect and
subsequently had taken the upper floor
of one of his apartment buildings. Here
young Mr. Hesselberg lived, rehearsed
and entertained the many people he had
met during the long Madison residence.
And here, on the last night of 1924, he
decided to give a party to end all par-
ties.
"Have a good time," he enjoined each
one, upon arrival.
And they did — such a noisy, such an
unfettered good time, indeed, that at
eleven-thirty the landlady gave a shake
to her ponderous bosom, donned her
uncompromising pince nez and called
the riot squad.
Melvyn himself opened the door to
them. He had thought this might hap-
pen. He was ready. Now, for all time,
would the riot-act be read.
He launched into it with fervor.
After ten minutes his audience found
him still impassioned but repetitious.
They took him, and his guests, away.
The night court judge, peering be-
nevolently over the bench, released
them, of course. But during the next
weeks Melvyn could not help admitting
a chastened mood; further — he knew
suddenly that he was bored with the life
he had been leading, that he had a case
of mental indigestion.
At the end of three weeks, his tradi-
tion of rebellion shaken because its ba-
sic reason was lost, but with rebellion
still a necessity since he was what he
was, Melvyn stopped one day before the
show window of a travel agency. The
gaudy placards, inviting him to far and
romantic places, seemed to hold the an-
swer to his immediate problem. He
went inside to ask for some folders and
came out with a ticket — to Europe.
The stock company had been going
great guns all winter. It was at the
peak of its success. But for the first
time in his life Melvyn had a respect-
able sum of money in the bank; he
needs must prove this accomplishment
to himself in some special manner.
Also, he was thoroughly sick of this
guy Melvyn Hesselberg, who couldn't
seem to make up his mind clearly about
life. Maybe, in a different and oldei
world, he might find the answer to ev-
erything, if there were one. . . .
He had $1200. It kept him in Europe
for the entire summer — in Paris for a
time, then in a small coast town where
the people were simple and real and
where he could learn French at first
hand; he went for a long walking trip
up the coast of Normandy; he met an
American architect who had just re-
turned from bicycling across the Con-
tinent and, taking the cue, Melvyn
bought a bike and set out.
When the summer was over, he caught
the boat home with a sense of relief.
In the mirror his eyes returned his stare,
clear and untroubled.
The cure had worked.
As he got off the boat, with $68 in his
pocket, a Western Union boy was mo-
notonously calling his name. He took
the wire. It was from a girl he had
known for years in Chicago, and it said
simply: "I've missed you."
He remembered the way her mouth
looked when she smiled and the amber
glint of her hair under light. He re-
membered her voice. It was enough.
He went directly to Chicago.
On the table damask in the Edgewater
Beach Club's dining room he told her,
"Something's changed me. I don't mean
I've gone long-hair — but when I do
things now I know why. I know wha'
I want. One thing — I want you."
She was silent.
"Will you marry me?" Melvyn asked .
her.
"This minute?"
"I mean tomorrow."
She smiled slowly. "I'll have to give
up a luncheon date. But I guess it's
worth it. Okay."
It lasted a year, and netted him a son,
a confusion of experiences, twelve
months of anxious, hard work and, fi-
nally, a divorce.
The trouble had been that he had mis-
taken her for love — for which he was
ready at last — when in reality she was
only the symbol of that love. . . .
There was just one woman with whom
Melvyn Douglas could find happiness.
His meeting with her, their life together
in Hollywood and his fight against film
success conclude Douglas' unusual story
In April Photoplay
80
PHOTOPLAY
Tyrone Power's Own Story
Continued from page 10 |
he airport with huge bunches of flow-
;rs. It's their charming custom to bid
,'isitors a successful crossing in this
nanner. We couldn't get out of the
Diane. The actual place where we
:rossed the line was called Quito, but
*-e landed at Guayaquil at six. After a
luick dinner, made a personal appear-
ince at the local Fox theater and then
o bed.
The Count Theo Rossi whom Ty men-
ions is one of the world's most eligible
bachelors and the heir to the famous
vermouth millions of the famous Martini
t Rossi firm. So can you imagine what
t must have done to the babes of Ecu-
idor to have two such bachelors pile
tut of one plane — to say nothing of
Sill, who is a bachelor, too, and most
■ligible, though wary?
["hursday
IT the airport at five-thirty A.M. to
ake off for Arica, Chile. This early-
o-bed, early-to-rise stuff is just like
«ing on a picture shooting schedule,
t's worth it, though, if for no other rea-
on than seeing the sunrise from the
jr. That's always a thriller. Our first
top, at Talara, Peru, very surprising
m two scores. The place looks just
ike any other oil town, only here it is
ompletely surrounded by desert. Then
hree girls turned up who proved to be
rom Tulsa, Oklahoma. Only came down
t Lima long enough to refuel, but the
ity looked so beautiful from the air I
irish we had arranged to stop here for
few days. We flew over some Inca
uins this afternoon and climbed up
6.000 feet to land at a city named
irequipa. It is situated at the base of
It. Chachani, which is 20.000 feet high,
rith two other mountains of almost
qual height towering alongside. Pushed
m to Arica, getting there at six, so dog
ired we didn't even stop to eat. Just
egistered at the hotel and made a dive
or the hay.
'riday
HE first dull day of the whole trip,
ill the fault of stormy weather. Out
t seven this morning headed for San-
iago, but held out dodging thunder
torms and barely got in in time to be
net by Mr. Ruscica, the 20th Century-
\>x representative down here, and to
;o with him to a dinner given by the
epresentatives of the major motion-pic-
ure companies. Bowling after dinner
it the Union Club; got back to the
lotel at two A.M.
Saturday
lOT going up in a plane this morning.
5own to earth for three whole days,
which is a relief for a change, and the
:ity looks charming. Took a drive to
Valparaiso and Vina del Mar. (Wonder
f the "Bad Girl" author got her name
Tom this town.) Lunched with mem-
Jers of the local press in the Castillo,
» very modern restaurant overlooking
he harbour of Valparaiso. In the after-
ioon. after a sight-seeing trip around
he city, I had the pleasure of meeting
he mayor of Vina del Mar, who in-
cited Bill and me to be his guests at
i dinner at the Casino. Did we feel
sappy when we arrived in our old
slacks, open-neck shirts and sports
»ats and everybody else formal?
Sunday
DlDXT stir till lunch which I had with
Darryl Zanuck's mother, Mrs. Norton,
DON'T LOSE THE MAN
YOU WANT MOST TO KEEP
who happens to be visiting here, too.
We went on to the races and in the
evening were guests of the American
Ambassador for cocktails and then for i
dinner at a local golf club.
Monday
I WO weeks out of Hollywood. It
seems like two years, not restful ones,
certainly, but better, exciting ones.
Could have stayed on in Santiago for
another month, but we're scheduled to
plane out today for Buenos Aires. Up
over the Andes we had to sniff oxygen
as were flying at an altitude of 19.000
feet. From the plane it looked as
though you could reach out and touch
the sides of the mountains, but the
steward said we weren't within a mile
of the nearest peak. It adds up to one
of the most thrilling and beautiful plane
trips it is possible to take.
Before I even stepped out of the
plane, they came on board with a mi-
crophone and asked me to say how I
liked the city. And I'd only seen it
from the air! Later, though, prowling
around it I discovered how beautiful it
was. Grand surprise here. Met two old
pals of mine who are living down here
and they insisted Bill and I be their
guests during our stay here, which will
be for five days. Delighted to accept.
/ asked Ty if the press was just as
horrible wherever you hit it. He said
in that voice of his that could mean
anything, "Why I love the press." Bill
it was who explained that reporters are
tough enough when you all speak the
same language, but when a star has to
speak through an interpreter, then the
going gets really rough. Bill said,
though, that Hollywood reporters might
add some of the extreme Spanish-
speaking politeness to their repertoire to
which Mr. Power simply murmured,
"Tsk, tsk," still very mockingly.
Sunday
oORRY couldn't keep up with a diary.
Hardly could keep up with myself.
We've been all over Buenos Aires,
shopped for shoes, shirts and some
badly needed fresh linen; have seen the
polo matches, the races, the opening of
a midget auto race track; visited two
movie studios; drove out to a estancia
to watch the gauchos give a demonstra-
tion of their superb horsemanship. Talk
about going to town and what a town
this is to go to!
When Tyrone went to make a per-
sonal appearance at the Buenos Aires
Fox theater, the house manager cau-
tioned him, just before his going on
stage, "not to fall in the hole." This
puzzled the star of the evening no end,
as the theater was a very grand, new
one. But, when he stepped out, he dis-
covered the whole front row of seats
and part of the stage had been removed
and a stout iron railing put in back of
this "hole" to keep the fans where they
couldn't clutch him personally. What
happened, however, was that the entire
audience rushed for the rail and stood
there en masse, gazing adoringly up at
him. This close proximity to his audi-
ence upset even the Power poise.
Monday
UUR third week ended. We're leaving
for Rio de Janeiro. When we land there,
we'll be down for another complete
week. too. That means half my vacation
is over. I can't believe it's gone or
that I've seen half what I've seen. It's \
No smart woman risks offending —
make sure of your charm with MUM
HIS FIRST "I LOVE YOU "—the thrill-
ing proposal, then the honeymoon
—those axe memories every woman
hopes will never die. But it's so easy
for a wife to think that time will
strengthen love— to feel that, because
her husband loved her once, he'll love
her always!
Don't make that fatal mistake! Don't
risk losing out in love because you're
careless about underarm odor. Before
you've won him— and after, too— avoid
the dangers of offending. Prevent un-
derarm odor with Mum!
Remember, no bath is enough to pre-
vent odor. A bath only takes care of
past perspiration— Mum prevents odor
to come.' Hours after your bath has faded
Mum keeps you fresh!
save TIME! Pat Mum under each arm
until it disappears. Takes only 30 seconds!
save WORRY! The Seal of the Ameri-
can Institute of Laundering tells you
Mum is harmless to fabrics. And even
after underarm shaving Mum is actually
soothing to your skin.
SAVE ROMANCE I Without stopping
perspiration, Mum stops all underarm
odor. Get Mum at your druggist's today
—use it daily and be sure of charm!
WHY NURSES PREFER MUM'S QUICK, SURE CARE!
...AND MOQE NUBSES, TOO, USE MUM
THAN ANY OTHta DEODC3ANT. ITS
SO QUICK, SAFE AND SUOE.
£ MUM \
W>^ — --' —
For Sonitory Napkins
Mum leads all derdor-
ants far use on napkins,
too. Women know it's
gentle, ufe. AluajS use
Mum this uay, too.
Mum
TAKES THE ODOR OUT OF PERSPIRATION
MARCH, I 939
81
TheAdmiral looks
grim but he's a great
guy! At the formal reception
to the fleet, he asked me did
I have any Beeman's Gum.
When I drew a fresh pack-
age out of my bag, his
eyes twinkled like harbor
beacons.
"Just the life preserver I was
perishin' for!" he said with a
grin. "The refreshing tang of
that Beeman's flavor makes s
even shore duty a pleasure.
It's fresh as a 20-knot breeze.
Beeman's is the code word for
a delicious treat any time. A
salvo of thanks, my dear!"
And the Admiral actually
salul
.ill of it. Porto Algere
OUT only itop IjUlWWII Buenos Aires
;ind Rio, but the most enthusiastic re-
n yet thi °t Rio in
the press, and
then, with Darke de Mattos to 1»
i day on hi> Island of Paqueta.
iDOUt fifteen miles off the main-
pot
■it lien1, children, li where Ty
; telling tlie half o/ it. He
U you that in Buenos Aires
hundred women, braving a heavy
rain, broke a police cordon at the Moron
• i i we did not make that
up; that's really what it's called). Win-
in the air]>ort administration
building were broken as the lovelorn
Indies tried to make a grab at our hero.
■ pie fainted; several got hysterical;
Ty escaped tlirough a back door and
into a waiting taxi. He wasn't feeling
too elegant, anyhoic. wiiat with an arm
tliat had been nearly pulled off by the
frantic mob in Porto Algere.
But that omission is as nothing
against his not reporting that Annabella
was in Rio de Janeiro and that she,
too, went out to the island of Mr. de
Mattos for the day. In fact, she had
lunched at the Santos Dumont airport,
apparently awaiting his arrival, but
when she saw the crush of other women
who were likewise waiting there — and
for the very same purpose — she left
and returned to the Copocabana Hotel
where her suite was two floors above
the one reserved for Ty. However, be-
fore he arrived there, she had checked
out, only to meet him later in the day
in Mr. de Mattos' launch.
He doesn't mention, and no one would
expect him to, that when Annabella was
interviewed in Paris in late October
after she got her divorce and was asked
if she were going to marry again, she
said: "I marry Tyrone Power? But that
is silly. He is a nice boy, but that is
all. Hollywood is the reason for our
(she meant herself and M. Murat's) di-
vorce. Our work separates us for so
long that it is impossible for us to
remain married."
At that time, the papers said that she
planned to sail for America about the
middle of November. All of which
seems to have been true, except that
she didn't say which America, and it
turned out to be South, not North.
Tuesday to Monday
BACK to Rio de Janeiro for another
crowded week. I guess I'm a genuine
tourist, for I always want to see all the
local sights and I never fail to get a
kick out of them. I got something more
than that here, though, for I shall never
forget the sight of that statue of Christ
of Corcovado, which dominates the en-
tire city and the harbor. The bird's-eye
view of the city and its beaches from
there is of breath-taking loveliness. We
went up to see this statue by daylight
and then stayed on so that we could see
it when the sun was down and the lights
were on it. It was the great moment of
the trip and I shall always remember
the beauty of it. We did lots of other
sight-seeing, too. Went with Annabella
to a charity dinner given by the wife of
the President for the newsboys of Rio.
We visited a night club where we heard
the native carnival music, the Samba,
of which I bought all the recordings I
could find. We toured to every spot
anyone recommended and they were all
marvelous.
Here all I can remark is that "we" is
a wonderful word. "I" can only mean
one person, but "ire" can mean any-
where from three to three hundred or.
Important, it can mean just two.
Certainly Tyrone and Annabella dined
and danced and went sight-seeing to-
gether fur that week in the romantic
South American capital and most cer-
tainly there is no reason why they
shouldn't have, particularly if they are
in lot>e, and nothing would surprise me
less. For I have seen them together and
I've heard the •pedal note tJidt comes
into Ty's voice when he speaks of An-
nabella and if it isn't love it is. at least,
a major interest that might ripen into
almost anything.
Fame makes it hard, however, to cap-
ture the moments of "we two together
and the world shut out" which all ro-
mantically interested people crave. Still,
if all the world loves a lover, even
when the hirer is just Joe Smith who
works in the Stevens garage and the
girl is Mary Brown who lives on Main
Street, Averageville, what can anyone
expect when, as in this case, the boy
is one of the handsomest and most reg-
ular young men ever to come to fame,
the girl is a honey-haired charmer from
Paris with laughing eyes and a seduc-
tive voice, and the setting of their pos-
sible courtship is lighted with a tropical
moon, and shot through at long dis-
tance with the glitter and glamour that
Hollywood sheds so lavishly over its
favored children? Naturally, the public
is interested. Both these stars under-
stand that interest. Just the same, it got
too difficult for them, what with re-
porters and photographers dogging their
very footsteps. Thus the next diary
entry reads:
Monday
OAW Annabella off on a plane to Bue-
nos Aires in the morning. In the after-
noon returned to the airport to meet
Count Rossi.
Thursday
DILL and I have decided to finish our
journey by boat. Within two hours
(plenty rushed, however) we had ar-
ranged passage, cancelled our plane res-
That the well-dressed gal
wears mink and the well-
dressed man stripes and plaids
is indicated by Janet Gaynor
and Adrian, a happy twosome
ervations and packed. We boarded the
boat from a launch just before sailing
time and stood at the rail of the ship
till Rio. that beautiful city, disappeared
from view.
Tliere was one very amusing incident
that Ty forgot to record in those last
three days in Rio. One night he and
Bill were invited to a formal evening
par[y. While they were dressing, they
discovered tliat somewhere in their
travels they had lost a dress tie. It left
them with just one black tie between
them, since, naturally, traveling by
plane they were tiaveling as light as
possible. They checked all the neigh-
borhood shops, but found them all
closed. So, since two men can't go out
for a formal evening with one black
tie between them, they tossed for it to
see who'd get the date, and Bill won.
Just as the Power was sitting there,
wondering what he'd do with the empty
evening and wishing he had brought
along some money with heads on both
sides, a waiter came in to inquire what
they'd like done about their breakfast.
The boys took one look and then tried
to explain, in their limping Spanish,
that they had no interest in breakfast
but that they were fascinated by his tie
— in fact, they wished to borrow it.
The waiter finally understood what they
wanted, but not why, and I'll wager if
he told his wife about the incident when
he went home he's never seen that par-
ticular tie (which was returned to him
the next morning) again. Madame
Waiter will undoubtedly have tucked it
away to show to her grandchildren
some day.
Friday
OPENT the day exploring the ship.
When dinner was announced I made a
sudden dash for the dining room. The
sea air had really given me an appe-
tite. Halfway down the stairs to the
dining room I paused and decided I
didn't need any food at all that night.
In fact, I nearly gave up what I had.
Mai de mer had caught up with me.
Saturday
I EEL fine again. No more seasickness.
Bill and I spent all our time on deck
in our bathing suits, that is, every pos-
sible second we could. I played the
usual deck games, but swimming suited
me best. In the evening we played
bingo and saw some motion pictures, the
first since leaving Hollywood.
Friday
UUR first sight of land in over a week.
We have put in at Trinidad. Had five
hours on shore stretching our legs and
looking over the town. Sailed at mid-
night. The last leg of our journey. I'll
be glad to get back but, in another way,
I hate to give all this up.
Tuesday
We land in New York tomorrow. We
are in the Gulf Stream and heading into
a heavy storm and the first cold weather
we have experienced (except that one
moment in Mexico) since leaving Los
Angeles. We wish now we hadn't been
so hasty in leaving that swell weather
in Rio.
Ty and Bill did come into New York
the next day, and went up to the Pierre
Hotel where Annabella was staying.
All three of them took a plane out from
Newark for Hollywood at five that after-
noon. And there we leave them — and
Mr. Power's journey and diary — with a
deep bow for his courtesy in giving it
all to Photoplay and with a bless you.
my children, which is very much from
the heart, too.
PHOTOPLAY
We Cover the Studios
(Continued from pags 5C)
lore, Francis Lederer, Mary Astor and
[edda Hopper, very much at home, all,
i the super-luxurious setting.
John Barrymore, in fact, is all over
le place — even on the walls. As a sly
jke. Director Mitchell Leisen had the
ecorator paint all the gallant French
eaux on the murals with a Barrymore
rofile.
You can sum up the plot of "Mid-
ight'' pretty much like this: an Amer-
an showgirl (Claudette) golddigs her
ray through French society only to
nd up with no money — but love in-
;ead — and that with a taxi driver!
hat's Don Ameche who is over from
wentieth-Fox for his first loan-out.
On the new and interesting side.
Midnight" offers the "La Conga" (see
le poem C. C. wrote on this dance,
age 25), a dance that might be called
le Big Apple or the rhumba, if you
in picture that. They're planting it
11 through the picture; so, after one
•ip to the theater, you can swing it
ourself.
Our next two studio stops grow
lore important each month — Walter
danger and Hal Roach are making the
lajors sit up and take notice by daring
i give us something new and making
5 like it, too.
With "Algiers" and "Trade Winds"
i live up to, Wanger is just winding
p "Stagecoach," another Early West
iga with the All-American touch.
We've been chasing "Stagecoach"
around for weeks, but it's as elusive a
soap in a bathtub. Director John Ford
is using six different Western locations
to make its Wild West really wild, so
Hollywood has hardly seen the com-
pany.
We won't go into the plot except to
say it all centers around a stagecoach
ride through the Apache country that
is pretty important to all the passen-
gers— John Wayne, Claire Trevor, Andy
Devine, George Bancroft and Louise
Piatt, among others.
The scene we see is the one where
Indians threaten the Apache Wells
stage depot, as Louise Piatt is about to
have a baby. They're almost readv to
go when a messenger runs on the set.
"Mr. Devine," he says.
Andy ambles over. The messenger
says something and Andy almost does
a cartwheel. "It's here!" he cries. His
wife has just presented him with a
real baby!
"Go on home," says Ford.
Well, we can hardly believe it our-
selves— but while we're there another
call comes and this time John Wayne
rushes back, stammering that his wife
is about to present him with an heir,
too!
"Go on home," says Ford.
With the cast depleted by two real
blessed events, there's not much chance
to film the make-believe one! So
"Ida Lupino and Warren William in a
Columbia production based on the
exploits of "THE LONE WOLF".
LAST-MINUTE REVIEW
Jesse James— 20th Century-Fox
THE story of America's most famous,
at least most romantic, outlaw is
brought to the screen as a minor epic
in this rousting, slam-bang Wild
Western.
Jesse James was an exciting per-
sonality and the pace at which he
lived is caught up on celluloid in an
hour or two of the fastest action you
ever saw. Tyrone Power offers his
own idea of what James is like and,
in the main, you will find him per-
sonable, although Hank Fonda, as his
brother Frank, sometimes outshines
him with quiet underplaying. Holly-
wood must always find reasons for
things and, it will have you know, the
James Boys were forced into ban-
ditry because of villainous railroad
representatives, who killed their
mother with a bomb. Whereupon,
the two sons rush away to take their
vengeance on the company. Finally,
Jesse's Robin Hood complex is tinged
with a Dillinger neurosis and he
holds up trains and banks, just for
the deviltry of it. The piece rings
true after that.
Nancy Kelly plays the Western
girl who loves Jesse despite every-
thing, shares his exile with him and
bears his child. One is grateful to
her for not looking beautiful except
in accidental moments. In fact, the
Technicolor camera is brutal to
everyone, but this lends an authentic
feeling. As for the action, you may
expect plenty of shooting, several
buckety-buckety chases, a jail break,
lots of holdups and goodness knows
what else. Randolph Scott, for the
first time, is at home in his role of
the marshal. Henry Hull is terrific
as the country paper editor; John
Carradine plays the Judas and Don-
ald Meek is amusing as the railroad
president. All the bits are beauti-
fully done; production is tops.
BEST PERFORMANCES— Henry Fonda, Tyrone Power
Romance is sweeter
when HANDS
feel soft," says J.
(Lovely
Hollywood Star)
Hand Skin, ill-supplied with Moisture,
suffers from "Winter Dryness"
"TTOLLYWOOD HANDS", girls call
*■ *■ them — the soft hands whose
touch is delightful! Even busv eirls can
have them! Skin moisture-glands are
less active in winter: water, wind and
cold tend to drv out your hand skui.
Tlien"s when roughness and chapping
threaten. But take heart! Jergens Lotion
supplements the insufficient natural
NEW FACE CREAM— Jergens
Ail-Purpose Face Cream — helps
against dry skin. Sot, 25t, 10*.
moisture: helps do beautifying and
softening work, lor your hand skin.
Doctors have experience. To soften
and smooth rough skin many physi-
cians use 2 fine ingredients you have
in Jergens Lotion. Regular use prevents
chapping. Never sticky! Delightfully
fragrant! Get Jergens Lotion today. Only
50<\ J3<\ ltic. $1.00 at beautv counters.
fDFFf GENEROUS SAMPLE
#J^^©« 0„d BOOKLET ON HAND CAHE
The Andrew Jergens Co.. IT" I Alfr<
iiali, O., (In Canada: Perth, On!.)
I want hi sec for myself how Jergens Lotion helps
to make my hands smooth, soft and white. Please
send your generous free sample of Jcr,
Street-
City
I PKIVTI
1ARCH , I 939
83
1
. «i- go to
I nd Hal Ho;u-h.
sounds so much
:yll that we can hardly
oady
.
Langdon was
I as a gag man
■ r a comeback
WhaB Laurel stepped out,
id Ilolly-
D the
Ha thought he was out out found he
Ha and Stan Laurel are
still r
This story happens in 1870 in a Missis-
n and the love theme between
d James Ellison is strict-
ly family pride stubborn love.
The comedy enters when Harry Lang-
don and his sick elephant come to town.
Oliver Hardy, a horse doctor of sorts,
cures the pachyderm who immediately
■ crush on him and Harry sues for
alienation of affections.
I HE secret of making Zenobia care in
a bii,' way for Oliver is a pocketful of
apples. But there's no way to make
Oliver care for Zenobia. In fact, it
looks to us as though he's scared to
death of his little playmate. When the
poor beastie trumpets in his ear for
another pippin, Babe steps out like
Owens and yells bloody murder.
It takes half the camera crew to haul
him back.
"She doesn't like me," says Oliver.
"Let's rewrite the script and have her
get a crush on Harry!"
Harry isn't around to defend himself.
But the trainer pooh-poohs Oliver's
Zenobia. he says, is very affec-
tionate and he'll prove it. Whereupon
Ivaa die order and Zenobia's huge
trunk coils out and embraces Oliver.
The horrified Hardy shouts and screams
are terrible to hear.
Billie Burke, we hear, is the only
member of the cast who goes for Zenobia
in a big way.
I HERE'S not one super-special on the
Twentieth Century-Fox lot when we
In a way. though, it's a relief to
dodge the high-powered press agent
adjectives and slip quietly on to the
"Mr. Moto in Porto Rico" set.
We like Mr. Moto. Charlie Chan is
such a gentle, calm and unctious fellow,
but Mr. Moto is more exciting.
The action, though, is a little stuffy
today — everybody's in white dinner
jackets, everybody leers, everybody in-
sinuates and looks mysterious — but
nothing happens to raise our blood
pressure, so we go over to Warners, hop-
ing to see Errol Flynn, the battling
Irishman, do a ki-yippee in "Dodge
City." Errol must have heard about our
plans, because the company retreated
too far into the mountains for us to fol-
low. Errol is a little sensitive about the
kidding he's getting for playing a wild
and woolly Kansas gunman — with his
accent.
The best comes at the last of our
studio circuit this month. We've been
waiting far too long, it seems, for W. C.
Fields and Charlie McCarthy to square
off on the screen and for these delight-
ful little schemers, the "Three Smart
Girls," to get to work again. "Three
Smart Girls Grow Up" is the title Uni-
versal picks for Deanna Durbin's sequel
to the film that made her famous.
The trio are Deapna, Nan Grey and
Helen Parrish. Charles Winninger and
Nella Walker handle the adult side of
the story, which isn't so important this
time. Deanna devotes her busybody
energies to fixing up romances for all
the girl friends and ends by getting
them in trouble instead.
Henry Koster directs Deanna in an
easy, rollicking manner. Every time
he says something she curtsies with her
ringers to her chin and says, "Yes,
Monsieur Kostaire!"
It seems strange to find W. C. Fields
at Universal, after all his years with
:iount. But there he is, the one
and only Fields, fat and sassy again
after his multiple miseries. And there
is Charlie McCarthy, too, pert and im-
pertinent as a miniature maharajah.
"You Can't Cheat an Honest Man" is
the marquee wrecker Fields himself
cooked up to usher him back into a
movie starring picture. It's Bill's story
idea, too, and most of the gags are his.
W. C. has cast himself in this film as
the proprietor of a tank-town circus,
one jump ahead of the sheriff. He
spiels, sells tickets, doubles for the
bearded lady and even has his own
ventriloquist's dummy, "Oliver," to slip
in when Charlie is indisposed. There
are plot complications, mainly about a
son and daughter Bill tries to keep
away at school and out of circus life.
But the fun's all around the big tent —
Bill, Charlie, and Bergen.
UN the Radio Rialto we find Hollywood
stars very much in the headlines.
Carole Lombard, with her usual flair
for stealing the show, got caught be-
tween hot fires when she signed for
two big national shows, scheduled to
appear on the air only a few days apart.
Both Kellogg's new Hollywood airevue
and the Gulf Co.'s Screen Actors' Guild
program signed Carole on the dotted
line. Both contracts specified she
couldn't do another radio act inside
thirty days. They were still wrangling
over her fair white body when we left.
Carole is the number one Hollywood
picture draw on the air.
Maxwell House's "Good News" has
moved into the new NBC building from
the El Capitan Theatre on Hollywood
Boulevard. All the fans knew it at
once; everybody, in fact, but Frank
Morgan.
The first broadcasts after the switch,
Frank was missing only minutes before
the broadcast. His home said he had
left for the broadcast. Somebody's
bright idea sent a cab racing to the
El Capitan. There was Frank, with his
long gray hair sprouted for "The Wiz-
ard of Oz," hanging around looking
very perplexed. "This is Thursday,
isn't it?" he inquired. "Yes," they told
him, "but the show has moved." "Well,"
said Frank, "I suppose I'll have to move
with it — ha, ha!" They got him there
one minute before curtain!
Frank and Ned Sparks have been
trying to outdo one another in the rage
for fancy costumes that has been mak-
ing Hollywood stars a bunch of exhibi-
tionists when they step before a mike.
Ned's latest on the Texaco Star Theatre
is a leopard skin and hairy legs a la
Weissmuller. But the most amazing of
all fancy costumes was Bing Crosby's
full dress suit which he flashed the
other day at NBC. Bing has been
showing up for years in old flour sacks
and something resembling Dixie Lee's
kitchen curtains. The information boy
wouldn't let him in the studio when he
strolled in in tails!
Jean Hersholt's decision to desert
movies after twenty years and give all
his time to his "Dr. Christian" broadcast
may be an indication of the trend of
Hollywood talent. Jack Haley wants
to make radio his life's work now and
Lionel Barrymore may give the movie
lots the go-by before long and find him-
self a steady job at the mike.
AS A JITTER BUG -4
"Swing-master" ARTIE SHAW
ALWAYS FRESH! Doubly protected by not
one but two jackets of Cellophane. OUTER
jacket opens at bottom of pack.
Copyright. 1930, by P. LorillardCcIl
TUNE IN on "Melody and Madness" with ROBERT BENCHLEY and ARTIE SHAW'S Orchestra, Sunday Nights, Columbia Netwo
84
PHOTOPLAY
Mr. Muni at Home
(■Continued from page 27)
lways doin' Miz Muni — thinkin' of
he boss first."
'"In other words," commented the
oss, on hearing the story, "they're both
iling me up."
The third cherished member of the
lousehold is Simon, the Airedale — so
ailed after the character played by
luni in "Counsellor at Law.'" Some
ime ago they thought it would be nice
0 have a second dog and bought a
chnauzer. From the moment he was
itroduced upon the scene, Simon lan-
uished. Concerned for the newcom-
r's welfare. Muni would steal out to
lie laundry a dozen times a day to see
whether he was too hot. whether he
ranted a drink, whether he was lying
1 a draft. Presently he got the uncom-
jrtable feeling that Simon was watch-
ig him, counting the number of his
isits to the intruder. He began feel-
lg apologetic. "After all. he's only a
uppy, Simon," he explained. It was
o use. Simon lapsed into melancholy,
[e refused to make his regular morn-
lg call with the cook on Mrs. Muni,
[e refused to eat. He skulked under
hairs. Even the magic word, "walk."
armerly sufficient to drive him into
;aping ecstasies, failed to move him
ow. He merely lifted an apathetic
ead and dropped it again.
So the schnauzer was sent to friends
nd Simon became a new man. '"What
ould we do?" shrugs his master. "He's
ur first-born."
The house proper has three gathering
laces. "This is the howjado room,"
ays Mrs. Muni, at the door of a lovely,
armal drawing room. "We don't use it
ery often — only when we have to live
ip to the movies. This is the ranch
oom — "
The ranch room was transported al-
lost bodily from the house in the val-
sy. Even on this gray day it looked
unny. Except for one turkey-red
eauty. the soft chairs and sofas are
overed in warm creams and taupes, to
armonize with the nubbly rug. Low
ables hold cigarette boxes and bowls
f flowers and book shelves have been
iuilt where they wouldn't interfere
rith windows.
"Up there was a Juliet balcony that
sked for a Spanish shawl — "
'But Juliet doesn't live here any
nore. so we had it torn out."
"Here's where I'm allowed to sit on
he floor." said Muni.
"And here's where he sits on the floor
without permission," said Mrs. Muni,
leading the way upstairs.
A paneled, book-lined room, with a
fireplace at one end and a desk at the
window that overlooks the sea, is Mu-
ni's study. Beside the desk, a small,
pulpitlike stand held a large dictionary.
Mrs. Muni displayed its points, while
her husband squirmed — the light cun-
ningly installed at the head of the in-
cline, the cubbyhole for scripts behind,
the catchall below.
Muni designed it. "I sort of snick-
ered when he was telling me about it.
Another of Muni's brainstorms. I
thought. But it really works — "
" S terrific." said Muni airily. "I'm
an inventioner."
Here he does much of the work
which will eventually be translated into
one of those three-dimensional charac-
terizations which he alone has brought
to the screen.
He's an early riser, gets up at seven
unless he's been out till two or three,
when he may loll till eight.
Breakfast is brought to him at his
desk. The morning papers and mail
disposed of. he sets to work.
MIS new contract gives him absolute
decision over what he shall and shall
not play. This makes him. not less, but
more conscientious. "If I fail, I can lay
the blame at no door but my own. I
have no alibi."
He reads and discards dozens of
scripts.
Eventually he finds a script, "which
seems to come within my scope." The
present one is "Juarez," now in produc-
tion. But before it went before the
cameras. Muni had read every scrap of
material he could lay his hands on that
had anything to do with Juarez. That
is the way he works.
Research goes on for weeks. When
it's finished. Muni makes an ordered
summary of his rough notes and dictates
it to his secretary. The summary forms
a basis of discussion with producer, di-
rector and script writers, with whom he
works closely, though not by any fixed
and orthodox rules — "just in this
searchy way I've evolved for myself."
Through work and work and yet more
work, he masters a characterization to a
point where he can control its every
shade and inflection.
His day at the desk is broken by a
YOUTH TAKES A FLING
The missing links in PHOTOPLAY'S picture
story appearing on pages 46 and 47 are:
1.
Girl of the Golden
West
12.
All Quiet on the Western Front
2.
Zaza
13.
Maytime
3.
Dramatic School
14.
Holiday
4.
Four Daughters
15.
Big City
5.
Beloved Brat
16.
52nd Street
6.
Judge Hardy's
17.
There's That Woman Again
7.
Listen, Darling
18.
Mad About Music
8.
Boy Meets Girl
19.
Made for Each Other
9.
Man-Proof
20.
Vivacious Lady
10.
Young Doctor Kild
are
21.
Having Wonderful Time
II.
There Goes My Heart
22.
Road to Reno
23. Bringin
g Up Baby
.t's Max Factor's new Tru-Color
Lipstick . . . Hollywood's latest sensation. Just imagine
a lipstick with these four amazing features...
1. lifelike red of your lips
2. non-drying, but indelible
3. safe for sensitive lips
4. eliminates lipstick line
For your most thrilling lipstick experience, try chis won-
derful new Tru-Color Lipstick created by Max Factor,
Hollywood, for the screen stars and you . . . /'/ 'l perfect!
There's a color harmony shade for you whether you are
blonde, brownette, brunette or redhead. Remember to
ask for Max Factor's Tru-Color Lipstick . . . $ i .oo
Do you know your type in make-up?
Discover Hollywood's beauty secret! It's color harmony
make-up, originated by Max Factor. You can actually
look lovelier, more alluring, more attractive with pow-
der, rouge and lipstick in color harmony for your type.
: the coupon for special make-up test.
/ ■¥■ HOL LYWOOD
Face pou i>lr...
Your skin will look love-
lier, more youthful, if your
powder is the color har:
shade for your type. This is
the secret of Max Factor's
Powder. Satin-smooth, cling-
ing, it really stays on. |
HO I (,K... Are you
blonde, b: wn-
ette or redhead* There s a
color harmony shade of
Max Factors Re -ge that
will be amazingly dartenng
to you. Creamy-smooth, it
blends eas..
: Mail fur POWDER. ROUGE AND LIPSTICK IM 10UR
"ciiii *m*!L
- .('"./J.JJ.Ha*.
MARCH , 1939
KH4 J-OrtdwUX
FOR THE GIRL WITH
NOW-EXTRA
"SKIN-VITAMIN
IN A FAMOUS
POWDER BASE*
WOMEN everywhere praise
Pond's \ ■niahing ( Team as
a powder base . . . non they're
excited <>\rr die extra -kin care
ilii- Euaoofl cream l>rin^~. Now
Pond'l contains \ iiamin A. llic
"-kin-\ ■tamm" aeceooary t<> -kin
health. In hosprtala, acientistfi
found thai wound- and bum-
bealed quicker when "akin-vita*
miii" m applied to them.
I -.- I'oml's Vanishing Cream
before powder and for overnighi
to help -ii|i|ily extra "-kin-\ iia-
min" for \onr -kin. Same jam.
S •■ labels. Same pri
jfc~l.il. • ,.. nu
Hcdbf, Jlai+fUwcSitU
I
uses Pond's Vanishing Cream dally.
"Thanks for giving us this newest
development In skin care — the 'skin
vitamin' In Pond's."
est
[In. A
A
walk among the hills, with Simon to
him company. When he opens his
dour. Simon knows he's getting
oat Then lx-gins a frenzied leap-
ing and bounding. He takes the stairs
at one vault and heal In tai] B|
the house door. If Muni's slow, he flies
UP again and pulls him by the hand,
careful even In his excitement to do no
harm with his teeth.
Ordinarily he's a welcome compan-
ion. "Minds his own business," says
Muni, "yet gives you the sense you're
with a friend." Now and then thi
a moment of strain when, in the excess
of his abandon, Simon threatens to en-
tangle with the wheels of the occasional
car passing that way, or to start up a
hare in the underbrush.
So, absorbed in some problem, Muni
may decide to leave him at home. On
such occasions he opens his closet door
soundlessly, tiptoes downstairs and
whispers to his wife, "Ich geh' spa-
zieren."
"Simon doesn't understand German,"
sighs Mrs. Muni. "Sometimes I think
I'll have to teach it to him before he
starts picketing the place — "
XCEPT for an occasional game of
Ping-pong and swimming in summer,
walking is his only exercise. Every now
and then, burning with good intentions,
he'll start on a course of ten-minute
morning drills and keep it up for two
or three days. When he gets around to
it, he plans to rig up a little gymnasium
that will be a standing reproach if he
doesn't use it.
The evenings are given to music and
books. If a passion for symphony con-
certs makes him a high-brow, then he's
a high-brow. If reveling in Fred Allen
and Charlie McCarthy makes him a
low-brow, then he's a low-brow, too.
Unless a book relating to his current
role clamors for attention, he'll choose
history or biography or, less often, real-
istic fiction. He mourns the opportuni-
ties he missed as a youngster and con-
siders his literary background negligi-
ble. His standards, however, are
unique.
For instance, he wants time to read
Shakespeare. Which doesn't mean that
he hasn't read Shakespeare as the av-
erage man reads it, if at all.
But to be stirred by the beauty of
the poetry or lulled by its music doesn't
satisfy Muni.
"I'd like first to find out all I can
about the man. Then I'd like to go
through the preliminary studies, as a
scholar does. Otherwise you miss the
full value and significance of the poetry.
I like to read a book over and over, till
I feel I understand what was in the
mind of the man who wrote it."
This he tells you with some hesita-
tion, lest again he be branded high-
brow, "that inane word."
The Munis find it hard to tear them-
selves from their home. Theoretically,
they go to town for dinner on the cook's
day out. More often than not, as the
time for departure draws near, Muni
gets a wistful look in his eye.
"O.K." says Bella. "We'll raid the
icebox."
They came out to the tree-shaded
court that lies between house and road,
to see us off. Simon came, too. Sud-
denly he darted into a shrub, returning
with a bird that he laid at Muni's feet.
One look at her husband's stricken face
and Bella knelt swiftly.
"See, he's not hurt. Muni. Simon
wouldn't hurt him. He's only fright-
ened. He must have fallen out of his
nest."
The bird fluttered on her palm,
peeped once and flew away.
Muni's hand dropped to the dog's
head and he lifted his face, abashed
but radiant. The sun had come out.
Close Ups and Long Shots
(Continued from page 13)
•■*■«■■ "" «aWt« "f ll.r ".kin-ommln" npplir.l lo Use -kin i.ro Im.r.I upon
' "" ' "•'-'•" It., -ki.. ..r ,.,.i,....|. f..l|,,v.i..w : ,„.,, |,|,„ri,,„r
Tun. In on "THOSI WE IOVI," Pondi Program, Monday!, 8:30 P.M., N.Y. Tim., N. B. C.
CoprrliM, 1V39, f'yud'. Extract Cumpur
white broadcloth or in gay flannels cut
on the lines of a cowboy's shirt . . .
both sexes hike about in jodhpurs shoes
. . . the amusing part of all this severe
tailoring with its emphasis on wide
shoulders and narrow hips is that it only
succeeds in making the girls look more
feminine and the men more male . . .
which was probably the big idea the
Hollywood girls had in mind all the time
. . . they are smart that way . . .
another thing that they are smart about
is the realization that while a man never
understands why a simple dress should
be so expensive as it is, he is always
appreciative of the cost of good tailor-
ing . . . maybe the Hollywood girls
don't always know how to keep their
men, but any of us can take lessons
from them on how to get them. . . .
Carole Lombard hasn't re-signed
with Paramount . . . she has a one-pic-
ture-a-year deal with Selznick Interna-
tional with whom she has made her big-
gest successes . . . Dick Powell and
Joan Blondell have got their release
from Warners ... it will be interesting
to see how these three go it on their
own . . . Cary Grant, who tried the
same experiment, and Ronald Colman
have done magnificently at it . .
Freddie March hasn't done so well . .
Carole has a percentage arrangement
with RKO to make "Memory of Love"
which Claudette Colbert turned down
. . . that is, Carole will take a shade less
than her usual salary for the straight
shooting of the picture and then a per-
centage of the profits ... it is interest-
ing to see actors as business people . . . I
I don't see why they shouldn't do asj
well at it as many producers ... as]
well as Sam Goldwyn, for instance, of]
whom it was said when he signed!
Jimmy Roosevelt as vice-president ofl
his company that so far this year he had J
had three vice-presidents and one pic- 1
ture. . . .
Our Thought for the Month Dept.: i\
Hedy Lamarr will go very far, but Mi-n
liza Korjus isn't so gorjus.
THE BERNARR MACFADDEN FOUNDATION
conducts various non-profit enterprises: The Macfadden-Deauville Hotel at Miami Beach, Florida,
one of the most beautiful resorts on the Florida Beach, recreation of all kinds provided, although
a rigid system of Bernarr Macfadden methods of health building can be secured.
The Physical Culture Hotel, Dansville, New York, will also be open during the winter, with ac-
commodations at greatly reduced prices, for health building and recreation.
The Loomis Sanitarium at Liberty, New York, for the treatment of Tuberculosis has been taken
over by the Foundation and Bernarr Macfadden's treatments, together with the latest and most
scientific medical procedures, can be secured here for the treatment in all stages of this dreaded
disease.
Castle Heights Military Academy at Lebanon, Tennessee, a man-building, fully accredited school
preparatory for college, placed on the honor roll by designation of the War Department's gov-
ernmental authorities, where character building is the most important part of education.
The Bernarr Macfadden Foundation School for boys and girls from three to eleven, at Briarcliff
Manor, New York. Complete information furnished upon request.
86
PHOTOPLAv
Second Chance
(Continued from page 22)
to let bygones be bargains. You once
said you'd never give me a job . . ."
He wouldn't even let me finish.
"And I meant it!"' he says firmly.
"Once a troublemaker, always a trou-
blemaker. We've got enough sponta-
neous combustion around here without
buying dynamite!''
"But all that was years ago,"' I says,
"and, Ben, I'm going to be frank. I
need the money — badly!"
"I'm sorry it's that bad!"' he said. "If
a fifty. . . ."
"Hold it!" I says. "I'm not after char-
ity, thanks just the same." Benny
shrugged and put his wallet away.
"Marie, I'm going to speak frankly,"
he says. "It's tough to be washed up,
but take my advice and admit it. You
haven't got a chance."
"Why Benny Rossman, you old fool!"
I says indignantly. "I wouldn't dream
of trying a comeback! I've had my day
and it was an extra special fine one.
But I've got a granddaughter. Even
you can't be mean enough to hold what
I done against her? Take a look at her
anyways!" But Benny got up on those
shoes of Al's which he was wearing so
badly and walked me firmly towards
the door.
"Sorry," he says, "but no jobs around
here for any of your family. I'd be glad
to send you and the kid home to where
you came from, but nothing on earth
would persuade me to have either of
you on this lot!"
Well, I would never have expected
even Benny to believe in feudalism to
that extent, but the feud was still on
okay. As I walked back to the hotel I
thought, "Oh, well, what the deuce, there
are plenty more studios in Hollywood,
and the money from Jelliff will be in
any moment now, so we will have a
stake to go on with and not worry.
Of course that money will be the last
we have in the world, but when people
won't give you a chance, you've got to
take one!"
WHEN I got back to the hotel there,
sure enough, was a letter from Jelliff
and when I opened it the check I got
was more like a complete halt.
"Dear Marie," he had wrote. "The
thousand dollars was paid in last week
and as you asked me to handle it for
you, I have done so. To begin with a
letter came in from the Wilkin Storage
Warehouse about some old trunks of
yours which it seems you had forgotten
and they turned out to be yours and
Jim's old theatrical trunks and I knew
you'd want them, so I paid the back
storage bill and have sent them out to
you exp. pd. Then Joe Deems had ap-
pendicitis and, knowing you would
never desert your old broken down pub-
licity agent, I took care of that for you.
I hope I have done right. As you
yourself said, the money was small
change and I know you have looked
out for Joe for years. .
How is California? I still think you
should not be out there without a
man's protection! I miss you lots.
Your true friend,
Jack Jelliff."
Well my head and the room went
round and round and then just as I
was beginning to get both under con-
trol again Betty burst in, her face shin-
ing with excitement.
"Oh Gram!" she cried, "I've met the
most wonderful man! He's a director
and he's going to get me in pictures!"
I took the worst possible view of Betty's
announcement.
"Did he also tell you his wife didn't
understand him?" I asked sarcastically.
"Now Gram," says Betty taking my
chin in her hands, "if you knew how
cute you look with that lavender hair
and those blazing brown eyes of yours
you just couldn't be mad. This is on
the level. First of all, I ran into Lydia
Watt! She's quite a social leader out
here!"
"That old cat!" I snorted, so's not to
show my relief. "So she's gone from
strip-tease to afternoon teas, I suppose?
Not with me, she hasn't!"
"Well, she's acting the part, all
right!" Betty declared. "She took me
to tea at the young palace she calls 'my
little home' and there were scads of
people there. So I met him quite re-
spectably. He's young and good-look-
ing and he really means it, Gram!"
"Means what?" I says sharply. Just
like I'd expected, Betty blushed.
"A lot, I hope I hope I hope!" she
chanted. "Did we go for each other or
did me? Wow! Am I happy — am I
lucky? His name is Christie Beall and
he has just signed to do his first pic-
ture for Goldmont!"
"Goldmont!" I says taking notice,
"and he wants to test you? Betty, did
you tell him who you were?"
"No," says Betty, "I thought it would
be kind of fun to ride in on my own
glory. So I told him my real name,
Betty Smith. He's going to help me
think up a better one. By the way,
darling, how did you come out at Gold-
mont?"
"I came out," I says grimly, "and for
the present that's where I'm going to
stay. Ride in on your own power any
place you can, of course. But for the
moment, hold everything. I got rea-
sons!"
"All right, I promise, Gram!" says
Betty, so excited and happy she would
have promised anything. "And now
would you think me an awful pig if I
went out to dinner alone with Chris?"
"Sure, run along with him!" I says,
"but remember, you're not interested
in etchings!"
n ELL I was glad to be alone on ac-
count I had plenty to think about. I put
on a red velvet hostess robe and sat
down with the evening paper. At first
I thought there was nothing in the pa-
per, just a few murders and divorces
and wars and stuff like that. Even the
movie items were dull and so I turned
over to the classified ads for amuse-
ment and there all of a sudden what
did I see only something which gave me
a very big idea. I tore out the item and
put it in my pocketbook to help keep
the few bits of folding-money remain-
ing there warm and went to bed.
I HE next morning I sure had a hard
time shaking Betty, but as soon as I
was able to do so I put on a plain old
suit, slicked back my hair and with no
make-up on started out for Beverly
Hills. The house I was looking for
turned out to be in the ritzy section
and looked something like a giant wed-
ding-cake. In fact, it was a super-
colossal house and exactly what I
needed. So I took the clipping which
read, "Caretaker wanted" out of my
purse and rang the back doorbell. And
pretty soon I was talking to the lady of
the house, only she was not a lady but
merely rich. Well anyways, this Mrs.
Phoopher says she is going to Europe
for three months in the biggest suite on
the Queen Mary and as her regular
party has disappointed, she wants a
N
Tat
n e r s
a re n't
"Dad was the original barefoot boy.
Started at $3 a week and ended up
as president of his firm. He just
couldn't understand why my stock-
ing allowance was always in the red."
"Now, Dad's economy complex
is satisfied and I have my
Berkshires— the prettiest stock-
ings I've ever worn. They're
sheer... they're color-right
. they wear! (P.S. Dad's
so pleased with himself
that he's no trouble
to me at all!)"
*tf
for evening weor,
with
dancing slippers
for afternoon.
with
pumps or sandals
for street
business, with
daytime shoes
Look for one of these seals on each pair of Berkshire
Stockings, identifying them as 2, 3, or 4 -thread.
BERKSHIRE
STOCKINGS
Ask for BERKTWIST, Berkshires sheerer crepes
Copyright 1 939 by BERKSHIRE
KNITTING MILLS. Reading, Penna,
MARCH, I 939
87
FRAGRANCE OF
COMPLETELY YOURS
True loveliness begins with your
bath ... A tablespoonful of
Evening in Paris Bubbling Bath
Essence makes mil lions of fragrant
bubbles caress you, leaving your
skin tenderly perfumed, $1.00.
Follow with Evening in Paris
Bath Powder, $1.10, or Evening
in Paris Talcum Powder, 55c.
Repeat the romantic fragrance of
Evening in Paris in your Face
Powder, $1.10 . . . New colors in
Evening in Paris Rouge, 55c, Lip-
stick, 5 5c and $1.00 and new Nail
Polish at 25c, afford smart possi-
bilities in harmonized make-up.
Finally, touch Evening in Paris
Perfume, "the fragrance of ro-
mance," to your lips, hair and ear
lobes. Purse flacon, 55c, other
sizes $1.10 to $10.00 . . . Evening
in Paris Eau de Cologne is dainty
and refreshing, 40c to $2.00.
BOURJ6IS
P E R F U M E R S
very reliable woman as caretaker but
no children or dogs and the party she
hires will get one hundred dollars per
month and will naturally live in. And
I will take it and she says what
references have you got, so I got a
brainstorm and told the truth.
"Mrs. Phoopher," I says, "I am going
to tell you who' I am, but please keep it
strictly confidential on account I have
never had to do this kind of work be-
rie La Tour."
"Oh yes," says she politely, the name
not meaning a thing to her, "you used
to be a writer, didn't you?"
"Well, I got to work for a living now,"
I says with quiet dignity, "and Mr.
Benny Rossman of Goldmont suggested
me getting a job of this kind! I think
he will recommend me!"
"Oh, Benny Rossman!" exclaims Mrs.
Phoopher impressed, on account that
was a name she knew. "I'll call him
right up!"
Which she did and Benny says I am
okay and respectable which he had bet-
ter, the crook, and Mrs. Phoopher signs
me on and says I can move in next day,
as she is sailing immediately. Also she
agrees to call me Mrs. James Smith,
which is my legal name, La Tour hav-
ing been picked out of a French travel
folder.
So that being that, all I had to do the
following morning was take the keys,
wave my new boss good-by, put my
make-up back on again and break the
news to Betty that I had taken a big
house in Beverly Hills for three months
so's we could be comfortable while we
looked around us. And not to get sen-
timental or anything, the look on
Betty's face when she saw the house
paid me back with usury for the hu-
miliation I'd had getting in it for her.
"It's marvelous!" she breathed. "Now
we can hold up our heads with the
other stars! But can we really afford
it?"
"Yes," I says, "for three months we
can, if we don't spend money on fool-
ishness. And now you just stand out
on the terrace, Betty, while I take some
snaps of the place. I want to send them
back East so's the folks won't worry
about how we are getting along!"
My main idea was really to prevent
Jack Jelliff getting any funny notions,
or feel he'd done wrong about that
Grand he'd spent. And so I sent him
one of these snaps of "our little place"'
and thanked him for helping me out,
not mentioning that it had also been
down.
IT didn't take us long to get settled, for
all we had was our clothes and those
old trunks from storage which Jelliff
had sent out the quickest, most expen-
sive way he could think up. The clothes
we hung up and the trunks I shoved
into a closet without opening them on
account of painful memories might
have sprung out. And then we were
ready for our campaign. But it seemed
we were the only people who had de-
cided we were to have one.
There is a grapevine in Hollywood
which grows sour grapes and it didn't
take me long to find out I was hung on
it. Exactly what Benny Rossman had
said I couldn't find out, but nothing
gets around the studios so quick as
word that a person is a troublemaker
and I soon found out that I was tagged.
I could tell it from the way studio sec-
retaries told me to leave my phone
number. Naturally, with my name I
could get into any of the studios and
take Betty alont;. The trouble was in
staying at any of them. The worst of it
was that Bettj get wise and
hold it against me and the more ambi-
tious she got. the worse her attitude.
"Honestly. Gram, I know you* mean
well!" she says one night. "I love you
and all that, but can't you see how the
studios feel about you? The one time
I went out on my own I at least got the
offer of a test and they didn't know I
was related to you at all! Why won't
you let me call up Chris Beall and say
let's try it?"
Well, naturally, this was about as
cheering as a deaf and dumb college at
a football game. Here I was playing a
janitress part for Betty's sake and run-
ning a risk by using the whole entire
house instead of just the ser\
rooms and Betty never suspecting any-
thing except that I was a jinx! I hated
to tell her why she couldn't go to Gold-
mont. But I did begin to see that
maybe my campaign had failed, as Na-
poleon had said at Waterloo Station,
and so when the next day I read in the
Reporter where Benny Rossman had
gone to New York for his annual trip, I
finally told Betty to go ahead and call
her young man.
"All right, I'll do that thing!" says
Betty loftily, "but you keep out of this,
Gram. I feel I can handle it myself."
AND she did! One evening she came in
and threw down her hat like it was in
the ring and shook her bright curls tri-
umphantly.
"I've got it!" she said. "The test is in
the can. And my name, from now on,
is Gail Gallante!"
"Pleased to meet you, Miss Gallante!"
I says mildly, "and I hope to see you
on the screen, I'm sure!"
"You will on Wednesday!" says
Betty importantly, busy at the mirror.
"Of course you'll want to see the test,
Gram, but you won't mind if I intro-
duce you at the studio as Mrs. James
Smith, will you?"
"I haven't been ashamed of my hus-
band's name yet," I says, quietly. Betty
could blush and did, to give her credit.
She put an arm around me.
"Darling!" she says, "I didn't mean
to be rude. It's just for business rea-
sons."
Well, on Wednesday we saw the test.
Chris Beall, a nice young man with a
face as open as a California market, sat
with us and treated me with great re-
spect. The Front Office sat in the back
as usual, all but the absent Benny,
who had gone to New York, and they
didn't go nearly as wild over Betty
as they did over a trained duck,
which also had a test shown, and no
wonder, because if the duck did not
click after they signed it, they could
always eat it. But when we came out
of the projection room Chris seemed
satisfied.
"She's a little stiff," he told me, be-
cause somehow we got along fine right
away, and he spoke as if Betty wasn't
even there, "but they'll let me have
her, I expect."
"Why, I thought I was quite good!"
Betty puts in, hurt.
"Beautiful," says Chris. "You are
easy to look at and I'm nuts about you,
but making pictures is my business and
if you work for me I'll have to talk to
you just as brutally as if we were mar-
ried! Practice relaxing until we meet
again. I'll let you know what they
think about your test."
HELL, I am not going to tax the pa-
tience of my public with all we suf-
fered while waiting for the verdict. I
had nursed Betty through measles,
whooping cough, etc., and now I simply
nursed her through an attack of artis-
tic temperament, using calomel as be-
fore. And I had pretty near got her
straightened out when she come down
with a relapse, worse than the first at-
tack, all on account of her getting a
contract to play the slavey part in
Chris' picture, which was called "Bring-
ing Up Mother."
88
PHOTOPLAY
It was a small part with only a few
.ides, but Betty suddenly thought she
lad the fate of the industry on her
shoulders and. what was even worse,
she thought she could carry it easily.
We\l, I had no objections to believing
ler, especially as with all of her sud-
len attack of theater-fever Betty did
lot keep out of the kitchen.
The crowning burst of Betty's cook-
ng took place, however, on the night
we had a little celebration about the
:ontract and invited that old cat Lydia
^att to dinner.
And right here was where Alex
^orm came into this history. He
was the type who will do practically
inything except work and was going
iround Hollywood trying to put him-
elf over in an original adagio swing
ict — but not trying too hard. However.
is the poet says, "All God's creatures
lave their use." and I suppose escorting
in old trout like Lydia around had its
ise, to Lydia, anyways.
And I can't say as I entirely blame
jonn for going for Betty, especially
iter months of Lydia. But somehow as
watched him and Betty together I got
he idea that the big house we were
iving in was what attracted Lorm most
if all. Anyways, after that first eve-
ling he come back several times and
ince I got home unexpectedly and
ound him and Betty out on the ter-
■ace. They didn't hear me come in but
heard something I didn't care for at
ill.
"You must have a wonderful con-
ract with Goldmont to afford this
ilace." Lorm was saying.
"Oh, but that's not what pays for
his!'' says Betty.
"Then you don't have to work if you
lon't want to?" he asks her.
"I should say not!" says Betty. "My
lad provided for me."
Well, I just turned away quietly
without saying a word. Because, after
ill, what words could I say? Here it
was plain that Alex Lorm figgered
Jetty was rich and that I was living off
ler and. without realizing it, Betty had
lonftrmed the idea. But while I said
lothing I decided to keep an eye on
hat young heiress-hound.
I ELL. about this time the studio was
eady for Betty's stuff. The night be-
bre she was to go to work Chris Beall
»me to supper and when he got
hrough he pulled me down on the sofa
)eside him, while Betty went for cof-
ee.
"If that girl can act like she cooks."
le says with a sigh of satisfaction, "the
jictures will have come into their own
it last!"
"Well, she ought to be good," I says,
'she certainly comes from a family . . ."
Chen I realized where I'd pretty near
nade a'bad break and clapped my hand
n front of my mouth quick. But Chris
Irew it away and held it in his own,
aniling gently.
"I know you are Marie La Tour," he
ays. "You didn't really think you
were fooling me, did you? And now
listen! I have the greatest respect for
|rou and I want your help."
"Granted, of course!" I says rather
lazed, "but about what?"
"About Betty!" he says. "She's nerv-
5us and strained, although she'd never
admit it. I want you to be on the set
tomorrow to give her the benefit of
your advice and help her self-confi-
dence."
"Holy Catfish. I can't!" I gasped.
"You may not know it. but I am per-
sona au gratin at your studio — espe-
cially with Mr. Rossman!"
"Nonsense!" he insisted. "Rossman's
in the East on his annual trip anyway
and I really want you there. You see,
"Bringing Up Mother" means a lot to
me. It's not only my first picture with
Goldmont. it's the first big job I've had.
It's got to be good! Every foot of it!"
"And Betty is probably the weak spot
in it," I says, "or at least you are scared
she may be. If you felt like that why
did you cast her?"
"Because I'm in love with her." he
said simply. "However. I'm not com-
pletely soft in the head and we are
going to make sure she gets all the
help she needs."
I drew a long breath. Betty, for all
she pretended to be so competent and
independent, did need me. She was
only a kid and I ought to stand by. So
supposing Benny Rossman did find out
I'd been on his lot? So what?
"Okay," I says at last, "but I'm Mrs.
Smith, see?"
"Okay, Mrs. Smith to the studio!" he
echoed, "but to me, one of the grandest
troupers that ever lived!"
I HERE is a smell about a studio like
there is about a circus, only the studio
don't actually smell, but it stirs up
something in you which you may of
suppressed, but can never get rid of.
if you have ever worked in one. And
I must say that the very first day I
went on that set with Betty I forgot I
was asking for trouble and caught up
on twenty lost years which I hadn't
realized I had lost until then. Every-
thing would of been perfect except for
Betty. It made my heart ache to see
how nervous and stiff she was and no
matter how many times Chris made her
go through that first scene, she got
steadily worse. At last I couldn't stand
it any longer and I went over and
nudged Chris.
"Let me show her, once!" I says.
"When you try, she's so anxious to
please, she freezes. But if I show her.
she'll get mad and try to show me!"
Chris nodded and I didn't wait for in-
structions. I tucked in my collar,
turned up my dress, tied a handker-
chief round my head and grabbed the
broom away from Betty.
"Try how it would go like this." I
says. Betty looked kind of mortified,
but at a word from Chris she stepped
out and I ran through the scene with-
out using the sides, because after read-
ing them back to Betty all the times I
had. I knew them by heart.
Well, there was a few titters when I
commenced, but I tried not to hear, and
pretty soon I realized that there was a
most unusual silence going on. Then,
when I had done, and was just about to
give Betty back her props, Chris Beall
held up his hand.
"Just run through that again the
same way. will you?" he asked me.
"I'm going to preserve it, just for
ducks!" Then he called to the crew.
"Hey. boys, lights! This will be a take!"
"But, Chris!" I says, "I'd feel like a
fool!"
"It's all in fun!" says he. "Come on.
just for a gag?"
"Oh. well, if it's just a gag!" I agreed.
"Quiet! It's a take!" calls the assist-
ant. The word echoed around "Take!
Quiet! Take!" and there I was. For a
moment it felt like old times. I did the
very best I could because I knew Betty
was watching me carefully and this
was all to help her. But when it was
over I was trembling a little.
"That's fine!" says Chris. Then he
turned to Betty. "And now, Angelface.
go on out and do it just the same way
your Gram did it — including all those
bits of business with the dustpan!"
Betty shot him a look which had scorn
and love and mad all mixed up in it
and went out to show us — me in par-
ticular, just like I'd calculated. And
she was lots better than she'd been be-
fore. On the second rehearsal she was
ready for the take and, after it was
It's fun to buy shoe? this vear (particularly
Enna Jetticks). For this year's shoes
have the dash and originality of costume
jewelry (especially Enna Jetticks). They're
young-looking . . . yet very sophisticated
(most of all Enna Jetticks).
And now, two practical reasons for choos-
ing Enna Jetticks. First, they fit ... as
beautifully as a lock fits its key. Some
stvles may be had in si2es 1 to 12, widths
A A AAA to EEE. Second, they're cpmfort-
able from the first step. All Enna Jettirk-
are "hand-flexed ". Meaning — broken in by
hand on specially designed blo< -
So don't pay more than five to six dollar^
without first seeing (and feeling) the new
Spring stvles in Enna Jetticks.
hfuA^d ' ~'3jbxjul 6y
AUBURN
NEW YORK
MARCH, I 939
89
"I'm living that
missing month again-
'■J'M imagine, Helen — "Before I tried it, I was "Now, thanks \-> yon and
going iln~ paoa ever really giving up living a Midol.I'm living thatmiss-
ce morning, and at a month a year — meekly ing month again. Not only
bane when 1 used to curl surrendering to several keeping on my feet, but
up Eke a aick kitten. H"\v days oi miserable inactiv- keeping eomfortable. Too
much I owe \oii for till- ity each time my regular baaaU women don't know
ing me. about Midol!" pains came on." how much Midol helps.''
IF functional menstrual pain makes you miserable at least one day each
month, ami keeps you uncomfortable and inactive several days more,
give Midol H chance to redeem that precious time for living. It probably
can. I or unless there is some organic disorder demanding medical or
BUrgiea] treatment, Midol helps most women who try it. Midol is made
for thi» Special purpose. It acts quickly, not only to relieve functional
periodic pain, but to lessen discomfort. Keep Midol on hand. A few
Midol tablets -liould see you serene! v through your worst day. Trim,
inexpensive aluminum cases at all drug stores.
MIDOL
•
1!
i. i. I b V i 8 i i > <: T i o n A L P E R I o n i r. tain
/ (here anything nlmul menstruation which vou do not understand? Midots new
booklet, "What Women \\ mil to Know," deals dearly and completely with Has
rilul subject. For free copy, together with a trial package <>f Midol, send your
name and addi >., Dept. D-39, 170 Variekot., WewYork,N.Y.
made, Chris was beaming.
ire a regular hypnotist, Mrs.
Smith!" he exclaimed. "I'm not as
afraid of the rushes tonight as I thought
I was going to be! Thanks a lot!''
WELL, I had no idea of what he meant
by that, but I didn't give it much
thought. Betty was all puffed up over
Chris being satisfied and that meant a
pleasant evening at home. Then next
day, before we started shooting, Chris
got me alone for a minute.
"Look here!" says he. "That stunt of
your running through the scene worked
so well yesterday that I'd like to repeat
it How's about it?"
"Okay," I says. "I will make you a
present of my sense of humor for a
couple of weeks, if you like. So 'Shoot
if you must this old gray head,' to quote
the poet!"
After that things moved pretty
smoothly and, with me showing her
how, Betty was getting by. But I could
Fee that something was eating Chris.
The further we got into the picture the
worse the strained look on his face
grew. To anybody with half an eye it
was plain he was having a mental
wrestling match with himself, but he
didn't say anything and I sort of fig-
gered it might be due to that Alex
Lorm having got into the habit of call-
ing for us at the studio each night and
sometimes even hanging around the
set.
But what was actually giving Chris
directors'-dyspepsia didn't come out
until the night when the fillum had had
its final cutting and basting together
and was ready for its first fitting. That
is to say they were going to run it in
one of the studio projection rooms for
the Front Office. I and Betty were to be
let see it and somehow at the last mo-
ment that Alex Lorm turned up and
thumbed his way in with us. Betty and
he sat a few seats off from me and I
could see he was making a lot of cozy
over her which I didn't like, but I didn't
get a chance to break it up because
Chris had got on his feet and was speak-
ing. His face looked more thin and
drawn than ever and it was easy to tell
there was something important behind
the simple thing he said.
"When we've run the picture once."
he remarked, "I want you all to wait
and sit through it a second time. I've
made two slightly different versions
and I want an honest opinion on both.
Okay, operator, let's go!"
WELL, "Bringing Up Mother" was one
of those stories which are best de-
scribed by the unpleasant word "Pleas-
ant." To be truthful, it had about as
much natural charm as an old-fash-
ioned cotton nightgown, but I didn't
realize that then. In fact, it is the truth
the ones which work on a picture get
less and less idea of how good or bad it
is, as work progresses. The fillum gets
around their necks and in their hair
and by the time it is all shot so are
they. And as I watched Betty's scenes
I tried to remember that I was too close
to the whole thing to judge her per-
formance. I could only hope. Any-
ways the picture was run once and no-
body had to be carried out in hysterics.
There was merely a few grunts and
murmurs, except from Alex Lorm. who
was busy telling Betty how wonderful
she was.
"You'll knock the lid right off the in-
dustry!" he was saying in a loud whis-
per. "You're great! Especially that
original stuff with the dustpan!" Then
the lights went out again and the
forced cheerfulness of the first se-
quences started all over. I was kind
of dozing because I only wanted to
watch Betty and when we came to her
cue I opened my eyes and sat up and
there on the screen wasn't Betty at all,
but me personally myself!
It was like a dream, a troublesome
dream of the kind when you know it's
a nightmare but you can't wake your-
self up. Pretty soon the handful of
people in the seats around me were
stilling and chuckling. I saw heads go
together whispering, nodding approval
and when the end came there was ac-
tually a few bursts of applause, which
is against the unwritten laws in an ex-
ecutives' showing. And I won't say that
I thought I was so terrible, but I /e!t
terrible because of knowing that I sim-
ply didn't belong there at all. What
was more, having an old woman in the
part had given a whole new angle to
the plot.
nHEN the lights went on, I got up,
feeling sort of dazed. I was afraid to
look at Betty and for once my quick
wits went back on me on account when
I finally did look, Betty was staring at
me fiercely, her eyes big and hurt. Her
face was deathly white as she walked
over, Alex Lorm's arm half around her.
"It's an insult!" he was telling her in
a low tone. "My poor, brilliant dar-
ling!"
Just then Chris stepped up and took
Betty's arm from Lorm.
"Excuse us, please!" he said. "I have
something to say to Betty."
"You have nothing to say to me,
Chris!" said Betty drawing away
sharply. "Not now or at any other time.
If you think you can make a holy show
out of my grandmother and get her
laughed at before all those people, you
won't do it with my consent. Let me
go, please!"
"Betty!" said Chris, his eyes blazing.
"That's not the truth and you know it!"
"Don't tell me what I know!" Betty
cried. "I know you've made fools out
of both of us!" And with that she ran
off down the lot with me after her as
fast as I could clip. Luckily, my early
training made it easy for me to catch
up with her before she reached the car.
It was vie drove us home and all the
way Betty didn't speak a word. Then
when we got back to the house she let
me have it.
"Gram," she says, white with fury,
"I am never going to forgive you for
this! You've made a big mistake dou-
ble-crossing me this way — pretending
you were trying to help me and all the
time stealing my part!
"What a nasty thing to do — to your
own grandchild! I'm sick, that's what
I am — sick!"
"But, Betty, sweet," I commenced
helplessly, "I hare tried to help. That)
filluming me was a gag — only a gag!"
"I suppose that's why they liked it
so well!" she says bitterly. "No, you
don't fool me any more! I go out and
get that job singlehanded and you—
you grab it off behind my back! You
and Chris must have cooked the whole
thing up together! Well, I'll tell you'
one thing, I know you were good to-M
night! But so am I good — I'm better.
And what's more, I'm young, do you
hear that? Young! This isn't going tc
stop me!"
She still had her hat and coat on and
was making for the door.
"Betty!" I says stumbling after he
hardly able to see on account of myi
tears, "Betty, come back! Where are.
you going?"
"I'm going out on my own!" she
shouts.
"I'm going to show you where you gelt
off. And I'm never coming back!"
Pathos and love — and over it all i
high tone of comedy as grand old Ma-
rie continues her Hollywood campnigi
— and with what results! Continue thu
absorbing story in April Photoplay
90
PHOTOPLAY
Cal York's Gossip of Hollywood
(Continued from page 70)
gles, directors' options and producers'
brainstorms. It is also strongly ru-
mored that Eastern production, boom-
ing so auspiciously with "Back Door to
Heaven"' and ". . . one-third of a na-
tion . . ." will not terminate with the
completion of these pictures, but con-
tinue more diligently than ever.
The report goes that William K.
Howard already has another Eastern
production up his sleeve, entitled "Cafe
New York." Like Paramount's "Cafe
Society,'' it deals with local night life
and Howard, who is an authority on
the subject, plans to star Patricia Ellis
in it. John CHara, the novelist and
bistro-frequenter, is scheduled to do
the script.
Howard sums up the problem of
Eastern production when he says that
"given a good story, cast and equip-
ment, a director can turn out a good
picture anywhere. Film production
knows no geographic barriers and I find
that the East is as good a place to work
in as Hollywood, Denham or Paris."
Gracie Takes Over
HOLLYWOOD has discovered Gracie
Fields just five years late. The beloved
English actress of both cockney descent
and cockney accent appeared at a recent
Trocadero party where sat the glamor-
ous and famous of Hollywood.
Gracie, who has been an English fa-
vorite (royalty included) for five years
and more, was called upon to sing.
Hollywood prepared to listen politely,
albeit a bit ruffled about the interrup-
tion.
She won them on the first song. They
were still shouting after the fifth. And
there was a new something, a new look
of wonder in the eyes of all Hollywood
when England's Gracie took her seat.
A Great Big Shot
WE have had something of a shock! A
visit with Hal B. Wallis has knocked
into a cocked hat our preconceived
ideas of what a Big Producer is like.
Hal Wallis is Associate Executive in
Charge of Production, no less, at War-
ner Brothers studios. He keeps glory,
success, wealth — most of the goals of
human ambition — in his desk drawer,
to be meted out at his discretion. With
the exception of the Warner brothers,
themselves, he is the Biggest Shot on
the lot and one of the biggest in Holly-
wood.
But the thing is, he doesn't act like
it Maybe we had him pictured as the
"Boy Meets Girl" type of producer,
given to pompous assiduity in frenzied
haste amid fabulous surroundings.
Anyway, he is, instead, a friendly, un-
ruffled sort of chap (just turned forty
and attractive) . aware, no doubt, that
he has a tough job on his hands, but not
showing off about it.
We were interested in knowing ex-
actly what a producer such as Mr.
Wallis does and we found out, at least
in part. He selects writers, stories, casts
and directors for every one of his stu-
dio's pictures. He determines produc-
tion costs. He passes on sets, locations,
properties. He examines and often re-
vises scripts. He reviews rushes. He
supervises cutting. If the picture is a
musical, he chooses the music. If it is
important — an "A" — he also passes on
all costumes, make-up. coiffures and
other still smaller details.
Hal Wallis has a flair for what is
known as the "trick ending." Exam-
ples: Bette Davis, Anita Louise and
Jane Bryan standing side by side on the
ballroom floor in "The Sisters," looking
up while the dancers mill around them
. . . Priscilla Lane and Jeffrey Lynn
swinging on the gate in "Four Daugh-
ters" . . . Eddie Albert thrusting into
his Commandant's hand a cigar, in-
scribed: "It's a boy," in "Brother Rat."
Mr. Wallis doesn't consider these
finales "trick," however. He points out
that in every instance the ending really
"clinches" the story, symbolizing its
logical consummation. He has no time
for films without a point. All motion
pictures should have a reason for being,
he told us.
Much of picture-making is also a
gamble, he pointed out. You always
gamble on the story. You often gam-
ble on the players. Wallis gambled on
the then unknown Errol Flynn when a
deal to star Robert Donat in "Captain
Blood" fell through. John Payne was
a gamble in his big part in "Garden of
the Moon," when Dick Powell reneged.
Jeffrey Lynn, an unknown, got a stellar
role in "Four Daughters" when Errol
Flynn went fishing in Florida. Priscilla
Lane and John Garfield, also in "Four
Daughters," and Eddie Albert in
"Brother Rat" were gambles, the kind
a producer must make if he is to keep
his product fresh. If he wins, he con-
tinues to be a Big Shot. If he loses once
too often, his name is Mud.
llAL WALLIS got his first job at the age
of fourteen, as office boy in a Chicago
real-estate office. Like a smart young-
ster, he also went to night school and
learned commercial law, accounting
and stenography. Then he landed with
General Electric. Four years later and
still in his teens, he was sales repre-
sentative for four states.
In 1922 he came to California to man-
age a Los Angeles theater. Then he
went to Hollywood as publicity mana-
ger for Warner Brothers. From that
time on, although not always in the
employ of Warners, his career provided
shining proof of the thesis, "If you're
good, you get there."
He is happily married to Louise Fa-
zenda and they have a five-year-old
youngster, name of Hal Brent Wallis,
whose picture we noticed on his fa-
ther's desk.
And speaking of the Wallis desk . . .
well, we always had expected the fur-
nishings of a producer's Inner Sanctum
to be the last word in luxury. You
know . . . rugs so thick you stumble
over the nap, etc. But this one was just
a fair- sized, comfortable room with two
or three leather chairs, a desk that
looked like any businessman's; a couple
of modest paintings on the wall and a
carpet, tasteful and durable, but no
thicker than our own at home.
Of course, there were double doors,
one in front of the other, between his
and the outer office. But maybe they
were to keep out drafts, rather than to
keep in the Big Secrets which a Big
Producer whispers In Conference.
A Hirsute Tale on Niven
HALF the charm of Hollywood lies in
its childlike ability to turn its concen-
trated attention from world-involved
problems to the simplest trifle dealing
with motion pictures.
Hence, it seemed a perfectly normal
turn of affairs when the fervor of an
1/Hx^ud\ Hoih^wc^cA. h'Ccdiiwi Boa\d
HOWARD GREER
Designer of fashions
for the personal
wardrobes of famous
Screen Stars.
EDITH HEAD
Designer of fashions for
Paramount. Her creations
are now appearing in the
picture. "Cafe Society."
TRAVIS BANTON
Designer of "glamour"
fashions worn by lead-
ing stars in many out-
standing screen plays.
NVOJW
WBW0»WS"10" -
-Liere's the secret of lovely
Hollywood legs . . . glamorous
Mojud Silk Stockings. Their
Screenlite Shades are styled for
you by these three famous de-
signers to the Stars. Each color
is as subtle as a new complexion
make-up . . . actually a beauty
treatment for your legs. Share
this beauty secret with the
Screen Stars . . . choose Mojuds
in Screenlite Shades to comple-
ment the colors of your smart
costumes.
Ask your Mojud dealer to show
you the new Screen/ire Shades.
MOJUD
SILK STOCKINGS
janet waido
:aza
A Paramount Picture
"7/te gtcckuuyl tke g&ieen State WeaV
MOCK, JUDSON, VOEHRINGER CO. OF NEW YORK. INC.
MARCH. 1939
91
■
m <m
are m%yovmi /um, really mine
Th.it '« what you'll say when you try Maybellinc
Beauty Aids. It's almost unbelievable — the
thrilling difference!
Maybelline Mascara brings new, dark sweeping
taauty to your lashes. They'll look divinely soft
and lustrous — not crudely "made-up." In Solid
or Cream-form, Maybelline Mascara is easy to use
— harmless, tear-proof, non-smarting.
Notice what the Maybelline famous smooth-
marking Eyebrow Pencil doesforyoKrbrows. You've
never seen them so graceful, so expressive. That's
because this finer pencil is perfectly pointed to
form tapering eyebrow contours.
Your eyes seem mysteriously larger, more bril-
liant with Maybelline Eye Shadow blended softly
over the lids.
Realize the fullest loveliness of your eyes — insist
on genutne Maybelline, the eye-make-up in good
taste. Attractive purse sizes at all 10c stores.
Mavhr'llne
Solid. form Ma..
a in trold-colorrd
nitr. 7Gc. Refill..
B:ack. Hrnwn. Blue.
Cream-
form leaailr
applied without wa-
. rr_ in dainty tipper
ease, 76c. Same ahades.
na ■mnotri-mark-
Ink' Eyehrow Pencil
Black or Brown
Maybelline
E>r Shadow.
Six rxqili.ltc
■larmoniilnu
hade.
THE LARGEST SELLING EYE BEAUTY AIDS IN THE WORLD
L Oood Hw tonptoH
ofLOuCgs
:: SHOrLDEH BR -CB
-
paunchy
'. Bland,
walk
I
Donnftl
\ ■ strati Medical Asso.
KROMER BRACE CO., Milwaukee, Wis.
Sylvia of Hollywood
Now Reveals How You Can Acquire
the Beauty of the Screen Stars
i sHrayi
Department P-2
430 North Wator Stroot
.nied to bo beautiful . . . attractive
. . glamorous. Now you can be! For the very Mint
method* which the famous stars of the screen and
use to acquire and maintain their beautv ire now revealed
by BylVla <>f Hollywood In her new hook. No More Alibis.
Thle book gives you the very aame Information for
which the screen stars of I toll v wood hnve paid fabulous
sums. Yet the price for this marvelous book Is only
$1.00 a DDpy, If von arc unable to uet this hook at
your local department or book store mall your order to
MACFADDEN BOOK COMPANY, Inc.
Dept. P-3, 205 East 42nd Street, New York, N. Y.
LOVCLYfTlAKC-Uf.
The new POWD'F£-BASE stick fP *
Holds powder and make-up on until removed. \ ^
No nose shine; non-creasy; waterproof.
Achieves a velvety, flattering complexion.
Rachclle, Brunette,
Me-.li, Suntan, Mid
three Rouge -.h.ide-..
50c nnd SI.
POWDHBASE
hcimpcue/ns
231 f .llh A.«r,u«, New York
aroused community over political con-
ditions abroad abated for a few hours
to fasten itself on — David Niven's mus-
tache.
David is a well-liked, keenly appre-
ciated young Englishman who strug-
gled and suffered, at the unfruity age
of eighteen, to grow a mustache. It
was cither a mustache (of sorts) or no
appointment as officer in the King's
Guard.
So Niven, by the very sweat of his
brow, metaphorically speaking, grew
the blond bristle.
And then — and here's the part that
intrigued Hollywood — he was ordered
to shave it off. David, so handsome
and fetching in his mustachio, was or-
dered by Samuel Goldwyn to denude
his face for his gay role in "Wuthering
Heights '
No one can appreciate such a calam-
ity quite so much as Hollywood. Or
chuckle more loudly over the event
that followed.
At a party given on the night shoot-
ing began, Mr. Goldwyn and Mr. Niven
met face to face. A few words were
exchanged; then Mr. Goldwyn caught
sight of David's lip, which was adorned
by the handsomest little mustache
you've ever laid eyes on.
Mr. Goldwyn expanded like an in-
furiated turkey.
"What — " he began, when Mr. Niven
halted further denunciations by care-
fully removing one-half of his very
false but cunning mustache.
And so for the remainder of that eve-
ning, just so Mr. Goldwyn would feel
more at ease, David wore but one-half
of his upper lip adornment.
All right, now we can go back to our
world crises with our minds free from
that distraction!
I'll Have a Donald Duck Special — With
Whipped Cream:
IES, he's been recognized by great
universities as a young American of
outstanding genius. He's been hailed,
lauded, cheered by the world at large.
And yet Walt Disney nurses a secret
hurt. Not once has anyone mentioned,
even in a small way, his skill and ar-
tistry as a pie baker.
The other evening a distinguished
visitor to the Disney home was ushered
into the living room. A minute later,
Walter, encased in an apron and with
flour on his nose, greeted his guest.
"Come on out to the kitchen and see
what we've got."
There, spread before Walt, were the
makings of several large dinners. They
had been sent to Walt by the Maine De-
velopment Commission, who contributed
the two deer Walt's animators use as
models for his current production,
"Bambi."
But the thing that intrigued Walt,
who loves to cook, was the fact that the
senders had enclosed old New England
recipes for the preparation of each dish.
"I'm on the pumpkin pies now," Walt
explained. "I hope they're good."
Walter carted several of the pics with
him to the studio next morning for his
staff to sample. Twenty-seven workers
begged Walt to bake them just one
pumpkin pie they could take home for
their wives to taste.
Now you know Disney is smarter
than that!
Crocodiles
THEY call it "The Phantom Stage" at
Universal because the famous "Phantom
of the Opera" was made there in 1925,
but it very nearly had a more sinister
name tacked on it recently during one
of the California downpours.
The company of "You Can't Cheat an
Honest Man" was gathered around
watching the Great Blacaman, the chap
who hypnotizes lions to the point where
he can bite them on the nose. Blaca-
man, at this particular time, was escort-
ing a group of twelve large crocodiles
that he had hypnotized from their pens
to the middle of the stage where they
were to work. Just as they were about
to reach their camera positions the
lightning began to flash — and the lights
on the big stage went out!
To say there was a panic is putting it
mildly. The cast and crew dispersed
hastily and took to the rafters and other
high spots while Blacaman and his two
assistants worked frantically to corral
the beasts in the dark. When the lights
flashed back on the stage was a scene of
wild disorder, but the beasts were
quickly reassembled and rehypnotized.
The company didn't recover from the
jitters any too quickly, though.
Surprise Story
Arthur Treacher's new neighbors
have a pleasant surprise awaiting them
whenever they come home from wher-
ever they have gone on that vacation
trip. Treacher has just moved into his
new home at Encino. Being a very or-
derly soul, the view from his windows
of a badly cluttered yard next door an-
noyed him no end. After several days
he came to the conclusion that his
neighbors were away and that whoever
had been left in charge of their home
was falling down on the job — and badly
So the Twentieth Century-Fox player
finally took matters into his own hands
and, with the help of his hired man,
went over and put the Dlace into first-
class shape. But, being a very courte-
ous person into the bargain, he left a
note of apology undei the front door sill
for trespassing.
Withers Anecdote
nHEN small Jane Withers started on
hei personal appearance tour recently,
her first port of call was San Francisco
where she was met by an enthusiastic
group of newspaper reporters and fans.
"Well, Jane," queried one of the Press.
intent on showing the youngster the
sights of the town, "what do you want
to see most?"
"Alcatraz Island.'- promptly retorted
Jane, to the amazed Fourth Estater.
"Oh, not Alcatraz Island — you mean
Treasure Island where the Fair will be
held, don't you, Janie dear7" adroitly
prompted a more or less aghast Mrs
Withers.
To which Jane answered, "Oh, no.
Mums, I mean Alcatraz all right!"
So Janie got her wish — within limits,
of course — for she was taken as a spe-
cial guest on a cruise to the Island
aboard a boat that brought 400 soldiers
back from the fortress in the Bay — as
close to the famous "Rock" as any civil-
ian is ever allowed to come
Charming Robber
nHILE working at Columbia Studios in
"Let Us Live," Maureen O'Sullivan was
handed a small box by an unidentified
boy. In the box was one of her jade
rings, part of the loot in a recent rob-
bery at her San Fernando Valley home.
With the ring was this note- "This looks
like an heirloom and may be of personal
value to you. Please accept it with my
compliments." It was signed "Lancelot"
— and Maureen feels that the thief has
an odd mixture of pseudo-honesty and
charm. The ring, a gift from her father,
was one she prized highly.
92
PHOTOPLAY
Hollywood, We Are Coming
(Continued jrom page 31)
"Bon jour" in French.
Barb remembered reading that Oliv-
a's favorite food was cold lamb chops
vith salt, so after our steak we ordered
wo portions of them. The steward was
;urprised but one can eat as much as
>ne wants on boats. Some people being
inable to eat at all I suppose it comes
>ut even. We wrapped the chops in a
lapkin and took a salt celler. The peo-
)le at the table thought we had a dog
vho was on special diet. I wonder what
s the right thing to wear to tea on
toard a ship.
6:30 P.M.
Between Tea and Aperitif Hour
Ship's Log
IATE to waste a minute writing, but I
night forget something if I don't jot it
lown.
When we arrived there were several
>eople whose names I can't remember
lecause they weren't celebs. Livvie was
Iressed in a diaphanous opalescent
lostess gown with yellow orchids. She
s beautiful but talks like a private per-
on, so we were a little disappointed,
•xpecting glamour. 1 let Barb present
he chops, it being her idea.
"You'll never guess what we brought
'ou," she said.
They all tried to guess and no one
vas even luke warm, so it was a real
urprise.
They talked about world affairs,
)livia having been to Europe. I must
ry to remember to read the front page
if the newspaper sometimes.
Mac asked me what I thought of it
ill so I said that with Central Europe
;eething like a colossal tinder box and
lome revolving on its axis, I thought
ve were sitting on a veritable tornado,
le agreed with me Then he asked what
thought of the war between China and
rapan and vice versa and I said it made
ny heart bleed for poor Anna May
rVong. He swallowed his tea the wrong
vay and had to leave the cabin for a
ew minutes.
Barb confided to Olivia that she had
jeen in love with Basil Rathbone a year
igo last Feb. She wanted to know if
lis marriage was really happy. Barb
las a penchant for villains, having gone
hrough Raft, Bogart and Cesar Ro-
nero. Pops says Freud has a word for
.t, and anything Freud has a word for
is terrible. That's why I'm relieved
she's in love with Herb Marshall who
is at least clean and wholesome.
Then B. asked if her favorite color
were still blue and her pet aversions
snakes and parsnips and Olivia said
'definitely."
I knew she was interested in painting,
poetry, sculpture, music, athletics and
Life, so there was no use asking that,
so I said: "Miss de Havilland, which of
the screen stars would you like to marry
if you could get him?" She didn't an-
swer tho I repeated the question several
times.
Meantime B. and I were casting our
glims about to see what we could lift
and it must have been telepathy because
Olivia said "I'd like to give each of you
young ladies a memento," and she gave
us each a chiffon handkerchief with her
initials ... a blue for Barb and a yel-
low for me . . . and we shall treasure
them forever and take them with us
when we go to see her pictures, because
we think she is utterly utter.
But don't worry, Bette darling. I am
faithful to you, will and ever shall be.
The others all left and Olivia said she
was tired, so Barb and I took the hint
at once. Mac said he would like to talk
to me some time as he found me very
stimulating. I suggested right away but
he said let's meet for an aperitif (French
for cocktail) in the lounge at 7.
Have to go down to dress.
Barb is playing shuffle board with a
child of 16 who doesn't shave yet and
wears a pink perspiration shirt. I can't
do anything with her.
In cabin
2 A.M.
1 THINK I have a real hangover. This
is life.
I put on my chiffon dress with the
dropped shoulders which makes me
look Myrna Loyish. I was about four
minutes late, so as not to seem too anx-
ious. Barb was sitting with her Infant
Prodigal playing backgammon and not
having any drinks. Mac was waiting
for me in a white mess jacket. He rose
when I came to the table . . . naturally.
He ordered a Bacardi and I ordered
Vermouth Cassis in French. Poor Barb
looked over at us with her tongue hang-
ing out (figuratively) . Humph barged
in and Mac asked him to join us. They
both questioned me about the Fan busi-
ness. I told them about the 20th Cen-
tury Club and the Penn. Drug Co. and
the L.A.L. and the Unwritten Code, and
our opinions of the stars' personal con-
duct. Then I told them about Freddy
March having taken me to dinner (some
of which was exaggerated on acc't I had
2 vermouth cassises ... or is it ver-
mouths cassis? ) .
Mac asked if I had any special talents,
so I told him about my profile, and that
people had said I had a Camera Com-
plexion. Barb excused herself and came
strolling past our table and pretended
to be surprised when I said Hello. So
they invited her to have a drink which
was what she had intended. Adolescent
youths are alright on the sports deck
where everything is free. She looked
cute in her dirndl model which hides
her hips. I told them what a beautiful
figure she had when she got down to it.
We had another round and Humph
told Mac about my talent for writing
and made me recite the poem about "I
wish I had, etc." Mac liked it so much
he wrote it down. He said I could easily
get it published as the magazines were
clamouring for that sort of thing. That'll
learn Sour Puss.
He said he bet my friends said I wrote
wonderful letters. I wonder how he
knew.
Then Humph and I began carrying on
a conversation in French. He said
''Comment-allez vous?" and I said "Tres
bien, et vous?" and he replied "Tres
bien, merci," which made things very
cosmopolitan.
We had more drinks and began to
feel swelegant and told them all about
carrying the torch for Bette and Joan
and what we thought of her leaving
Franchot and how I had to sell my al-
bum to Vera Bailey. Mac said I needn't
worry, that when we arrived in Holly-
wood we would be met by crowds of
stars all clamouring to give us their sig-
natures. (We didn't mention we were
being sent back at Havana.) We told
them how Greta was hard-boiled for
fans, and Dietrich a push-over and that
Chas. Boyer puts on temperament.
It got towards the last call for dinner
and they had to help us down to the
dining salon because the ship was roll-
ing also.
AT
LEADING
STORES
$35o
• STUDIO BJL
S25 SEVENTH AVE., NEW YORK. N. Y. •
And that's why so many prefer this
clear, golden, liquid lotion that isn't
thick nor gummy. It's ideal for hands,
arms, and wherever skin is rough or
chapped. It soothes as it smooths away
roughness and resulting redness . . .
helps to keep skin soft, smooth and
young looking. Next time you buy, try
amberlains
al Drut ...Department Store? \ - iB
and Toilet Goodi Counters
SEND FOR CONVENIENT "CARRY-SIZE"
CHAMBERLAIN LABORATORIES, INC. p_.)q
DES MOINES, IOWA T" C /
Please send Free "Carry-Size" ^\ ILL'
Chamberlain's Lotion.
NAME
"Curtsy" Girdle No. 1301
(pantie style, No. 1321)
each $2.00 — shown with
a long-line version of
Maiden Form's *"ln-
timo" brassiere, which
gives emphasis to the
"dividing line" — J 1. 50
to $3.50. Send for free
Foundation Booklet C:
Maiden Form Brassiere
Co.. Inc., New York. N.Y.
1^1'
STREET
CITY-STATE
MAIL THIS COUPON TODAY Good only in U.S.A.
MARCH
939
93
fssdn s/aaj t
}AjnoAuaml
P
Turn it
RIGHT SIDE UP
with
AlkaSeltzer
IT
| # Sec how a bubbling glass of Alka-
I Seltzer will quickly help put you "right
!
side up" when an upset stomach, attack
of Acid Indigestion or a Headache
makes you feel miserable.
• Alka-Seltzer is DOUBLY effective
because it offers relief in TWO ways.
Its analgesic action relieves pain and
discomfort promptly and its alkalizing
qualities help to neutralize any exist-
H ing excess acid condition. Get a 30c
■ or 60c package at any Drug Store.
W
CALL ME
SIT-TRUE
STRONGEST
MORE ABSORBENT
AT 5 AND 10? AND BETTER
DEPARTMENT STORES
WAKE UP YOUR
LIVER BILE...
Without Calomel
— And You'll
Jump Out of Bed
in the Morning
Rarin' to Go
The li-.rr *hotil<l pour out two pounds of Uqold
bllt onto Um food you iwallo if thii
bile i« n-'i flowing freely. your food i
LYourwholi I
ink and I hi- world looks punk.
A mcrr movement il". • . It
'ill. i,|. | Cn, I,i:. I.iltl. I
a<U of bile Bowing fnily anil
I "up .'in. I up." Ilniml. .. gentle, yet
Liltlc Lntr Tills by name. 26c at ull tlruu
If wo could only shiy on the boat! I'm
\. mlii end up with conn
omething. Just when we are mak-
ing such wonderful Contacts, we're .sent
I lamnatton.
S.S. Oriente
Homeward Bound
High
Spirits: Low
I HIS is also a terrific boat but Koine; in
the wrong direction and not a soul
knows who we ked thru pas-
• r list for celebs, but a lack! We'll
just have to play games, see the pictures
and .scout for males. But I warned
Barb that 18 is Low Field.
Havana is wonderful! Barb said
wouldn't it be a marvelous setting for
a romance, and I was just thinking the
exact same thing. We often think alike.
Great Minds.
Went to La Playe (The Beach) with
a Cuban boy Barb picked up on the
boat and then to a Jai Alia game which
I now prefer to baseball. There were
also cathedrals and a Fort named after
that ship that sank. There were lots
of Senors and Seiioritas towards eve-
ning. Took trip to Chinatown After
Dark, and then to a place called Sans-
Souci (French for Without Care) where
I learned all about Cuban Rhythm and
danced with a stunning Senor. Jose
(Barb's boy friend) took us. A couple
did the deniiere wiggle in rhumbas and
a beautiful girl did the Dance of the
Seven Beads from Salome and we
shouted "Bravado, bravado," until we
were hoarse. Naturally we wound up
at Sloppy Joe's. Everybody does. I
didn't really get to know the life of the
natives, not speaking the language and
only being there 2 days. But someday
I would really like to make a study of
Life in the Raw.
Time for Tea. B's diet has been shot
to blazes and she is cooling off on Herb
Marshall. We have been eating 7 meals
per day, including breakfast in berth.
B. has taken on 5 lbs. and is sitting on
the fat of the land.
I adore nautical life.
There is a grouch in the next deck
chair who does nothing but read. He
said he was studying to be a Globe
Trotter. I wonder what you have to
study.
Ship's Log
Sea: Heavy
Heart: ditto
men on board who have been rushing
us. They are practically college men as
they tail.
They .started getting fresh on the top
deck but we put them in their places.
A little necking is alright but we know
ly where to draw the boundary
line.
Home
Such as it is.
DARB and I have touched the depths.
Nothing can hurt us anymore. We
have drunk the cup to the full and
tasted the bitter dregs. We wanted to
commit suicide but didn't know how
except jumping in the lake, but we can
swim. Thought of taking rat poison but
it wouldn't be very clean. Besides B.
said it was a cowardly act and we
should face the music in dignified si-
lence, which we are doing. We only
talk to each other.
We have been through Heaven and
Hell together and nothing will ever sep-
arate us.
We had a wonderful time the last
night on the Oriente, little knowing
what was ahead. As the boat ap-
proached the pier we noticed a group
of fans. Since there weren't any celebs
on board we thought they had come to
meet us.
Well, Pride goes before a Fall. In
the 1st place, they had come to meet
Claude Rains who was none other than
the Grouch in the next chair, and he
hadn't even worn dark glasses!
Mops and Mrs. Drew were on the
dock and they didn't scold us at all but
acted as if we were sick or something.
We didn't understand at the time. Some
of the fans smiled at us. It all felt
funny and we would rather have gotten
Hail Columbia, because it didn't seem
natural.
That night I told Pops and Mops my
adventures and they were very inter-
ested but a little sad. When I told them
what Mac had said about my being a
writer Mops burst into tears. Then
Henry telephoned. He didn't ask a thing
about my trip but invited me to go to
Radio City tomorrow night. "Just the
two of us," he said. His voice was
peculiar.
I felt as if I had brought back the
measles. Barb told me she felt the same
thing at her house.
The next day at school we solved the
lOMORROW it will
all be over.
No more Night life
" Top Deck
" pools (ship's
and swim-
ming)
" Aperitifs
" 7 meals a day
The thought of go-
ing back to the grind
of school would be
positively barbaric,
except for the kick
we'll get out of tell-
ing the gang our ad-
ventures. We are go-
ing to call a special
meeting of the club
to show t h e m our
trophies (handker-
chiefs, champagne
swizzles, fans, menus,
inds, spoons,
I s, ticket stubs,
I flowers) .
Of course I'll be
glad to see poor old
Henry, but I'm afi aid
I'll find him rather
provincial. There arc
2 very nice j
mystery. Vera Bailey, of course, showed
us the clipping. It had been in the eve-
ning paper the night before we landed:
Fanatic Fans Shipped Home to Have
Fannies Fanned
The Misses Jane Lyons and Barbara
Drew sailed for Hollywood on the S.S.
Cleveland.
The young ladies occupied a de luxe
position underneath the bed of Miss
Olivia de Havilland, who was also a
passenger. The actress entertained at
tea and gave each girl a handkerchief
before they got around to stealing them;
they, in turn, presented Miss de Havil-
land with a bouquet of cold lamb chops.
When hauled out, the young stow-
aways were crumpled but unbowed, and
only slightly chocolate-coated. They
were relegated to Third Cabin until
funds from papa arrived to carry them
to Havana and back.
Miss Lyons is apparently the brains
of the team, while Miss Drew is her
"yeah" woman.
Her views on world affairs are unique.
She believes that Europe is sitting on
a Tornado and that the Sino-Japanese
war is being fought on behalf of Miss
Anna May Wong. She is planning to
have a screen test and feels that her
profile will revolutionize the motion pic-
ture industry.
Miss Drew, who still retains her baby
fat, is in love with Herbert Marshall
and making a valiant effort to cut down
to five meals a day. Miss Lyons has a
talent for writing, having composed the
following gem:
I wish I had K. Hepburn's smile,
Marlene's legs or Myrna's charms.
I'd like to rest a little while
In Gary Cooper's arms.
A touch of Joan's simplicity,
A flash of Greta's fire;
If Gable once would look at me
His eyes filled with desire . . .
To have a week, a day, an hour of
Heaven
I'd give ten years of life, from sixty-
seven.
The girls boasted that fans had
smashed Lily Pons' car; that Frances
Farmer often had to leave the Algon-
quin by way of the kitchen, and that
when Garbo went to see "Susan and
God" last year, Ger-
trude Lawrence had
to attract attention
from the dressing-
room window so Miss
Garbo could get away
with life and limb.
They have clubs
and an L.A.L., which
means Loose Actors'
League . . . referring
to the gentlemen who
try to "make ad-
vances" when being
interviewed by the
children.
The fans firmly be-
lieve that their pat-
ronage can make or
break a star. I
wouldn't be surprised
if they were right.
Mr. and Mrs. Walter Connolly enjoying their
dinner at the Marcus Daly Cafe. Walter was
scheduled to play the roistering father of Scarlett
in "Gone with the You Know" and no one was
better suited to the role — but we aren't making
any promises! Remember him as the irate news-
reel editor, Gable's boss in "Too Hot to Handle"?
The snake in the
grasses ... or rather
snakes in the grass!
There are people in
this world who are
just super-stinko.
I wonder if an
epidemic really
hurts very much.
94
PHOTOPLAY
Emily Post Tells What's Wrong with Movie Manners
A woman's habit should resemble men's
clothes, those of the conservative Bond
Street variety.
"When it comes to riding boots, Hol-
lywood and a great many other places
go haywire. They should be low-heeled,
with a straight line from the heel to the
back of the top. They should not be
fancy in shape. There should be noth-
ing Mexican or Spanish about them.
Hollywood should remember that cor-
rect riding clothes are not fashion but
form.
Even worse than the boots is the
tendency of women to wear curls flying
over their faces. Not a vestige of hair
should be brought over on the cheeks.
In fact, a hunting hair net should be
worn. If a woman feels she has to
wear curls, she can sit in a boat, but
she must stay off a horse!
"My favorite dancer is Fred Astaire.
His clothes, off the screen, are, I've
heard, correct. So why, in Picture
Five, does he permit someone to pre-
sent him carrying that social pariah
... an ebony stick with an ivory top.
After all, he is meant to represent a
gentleman. His stick should have been
plain Malacca.
"In Picture Six, from 'Topper,' the
clock on the mantel points to twenty-
five minutes past ten. If this means
morning, then Alan Mowbray is wrong.
In the early morning a butler wears an
ordinary ' sack suit with a dark, incon-
spicuous tie. For luncheon, or earlier,
if he is on duty at the door, he wears
black trousers with gray stripes, a dou-
ble-breasted high-cut black waistcoat
and black swallow-tailed coat without
satin on the revers, a white stiff-bos-
omed shirt with standing collar and a
black four-in-hand tie. However, if this
is at night, then Roland Young is wrong,
for he wears tweeds.
"Picture Seven points up a social
error that many men may be guilty of
. . . that of puffing smoke into one's
partner's face.
"In Number Eight it would have been
better had Gene Raymond removed his
hat when greeting his mother-in-law.
And Dolores Del Rio's make-up is de-
cidedly an exhibition in Nine Apply-
ing make-up is all right so long as one
does it privately or unobtrusively, but
a public performance is something else.
NUMBER TEN seems to be typically
Hollywood. Walter Wanger is dressed
in a dinner coat suitable for winter
wear; Richard Bennett's clothes are
correct only for midsummer; Gilbert
Roland isn't dressed at all; and Con-
stance Bennett wears a heavy winter
fur coat with a white hat and those
beach sandals with protruding bare
toes!
"Number Eleven shows Mr. Darryl
Zanuck and party with their elbows
sprawled upon the table. Everyone
will expect me to disapprove of this,
but I don't! There is no food on the
table. They are evidently enjoying con-
versation. There is nothing formal
about it ... so elbows are all right.
"Twelve is the dining table of one
of our stars. Since the picture was
originally captioned as 'a formal table,'
I take it that it was intended as such.
So the butter plates should have been
omitted. No butter is ever served at a
formal dinner, or, for that matter, can
a bare table be considered suitable. A
damask cloth would have been the
proper thing. On the other hand, as a
supper table, the layout is correct.
"In Thirteen the seating arrangement
could be improved. Husbands and
(Continued from page 21)
wives should never sit together. Just
look at poor Gene Raymond, way at
the end, with no one on his right to
speak to.
"In pictures I notice they have trou-
ble when they serve dinners for eight.
To avoid having either two ladies or
two gentlemen seated at the head and
foot of the table, the hostess should re-
linquish her place to the guest of hon-
or. She should sit at his right. The
host keeps his place.
"And I have been told by visiting
foreigners that there is one Hollywood
custom that has given all America an
illiterate reputation. That is the im-
pulse of every new-rich hostess to have
herself served first. There is no excuse
for the impoliteness of this behavior.
The custom goes back to the Borgias,
when hosts invited enemies to their
tables with the full intention of poison-
ing them. I am sure this is not the
habit of Hollywood stars, no matter
how bitter their professional rivalry.
"Speaking of foreigners reminds me
of another mistake one often sees and
that is the European gentleman click-
ing his heels and kissing our heroine's
hand. In society only the hands of
married women are kissed . . . never
those of single girls.
ni
nT one time Hollywood did ask for
instruction in etiquette," Mrs. Post
said. With a reminiscent smile, she told
me the story of Edward C. Potter.
It was in the days before talkies.
Edward C. Potter was one of the smart-
est men in society. A well-known au-
thor in Hollywood suggested that his
company persuade Mr. Potter to lend
his talents to the screen. So they tele-
graphed a liberal offer, which Mr. Potter
was tempted to accept. And he de-
parted for the coast.
Arriving, he was given a royal wel-
come and everything went smoothly
until they were ready to shoot the first
scene of his first picture. He was sup-
posed to be the host at a dinner party.
Mr. Potter went forward, offering his
arm to the guest of honor. Thereupon,
the directors stopped him and said the
hostess must lead the way.
"But." protested Mr. Potter, "they
don't behave like that in any society
in the world. In Paris, in Newport,
London or New York the host leads
with the woman guest of honor."
But the director was not content with
Mr. Potter's opinion. The entire pro-
duction was held up while he tele-
phoned Douglas Fairbanks in order to
find out what he did. Fairbanks was
out, but his valet obligingly conde-
scended to come to the studio and tell
them how things were done at Pick-
fair. The valet said that not only did
Mr. Fairbanks give his arm to Mrs.
Fairbanks, but, after going into dinner
first, they always sat next to each other.
This was enough for Mr. Potter. He
returned to New York.
"Then, there was young Craig Bid-
die," Mrs. Post said. "He also was im-
ported to portray the society man. The
scenario read that he was to pay a call
upon the girl he loved. The director
ordered him to slap the butler on the
back, pause in front of the hall mirror
and rearrange his tie. Mr. Biddle, on
the grounds that he never acted that
way, refused to do this. The director
insisted, so Mr. Biddle, like Mr. Potter,
also went home.
"That continual screen habit of slap-
ping everyone on the back is utterly
impossible. Men in society never do
that sort of thing.
"Of course, there are certain stars I
like very much," Mrs. Post admitted.
"I go to see any picture that presents
Claudette Colbert, Bette Davis or Mar-
garet Sullavan.
"I also like Spencer Tracy, Walter
Huston, Gary Cooper, Douglas Fair-
banks, Jr., Ronald Colman . . . some-
times, and Herbert Marshall's voice.
"I like Carole Lombard when she
doesn't yell or make a face as she opens
her mouth.
"And now," Mrs. Post leaned back,
"I hope I've answered enough questions
for you."
"All but one," I assured her.
"And what might that be?"
"English, pure and simple."
Mrs. Post laughed. "I'm afraid to
speak about that, for I'm really a kind
person. I don't like to hurt people's
feelings. But it is true that your scenic
designer may furnish a faultless set, a
star's gown may be flawless . . . every-
thing can look like society . . . but
talking is the dead give-away."
And because this fault, so glaring,
can so easily be corrected, I prevailed
upon Mrs. Post to give us part of her
preferred list of English "don'ts."
Both Mrs. Post and Photoplay hope
these observations will be accepted in
the spirit in which they are given . . .
as constructive criticism, and that they
will help not only Hollywood produc-
tion, but you, also, in your everyday
life. Here they are:
DON'T SAY:
automobile
reely
secretree (unless
you're English)
av viator
eggsit
Muhree
col yum
for mid able
cult your
at-all
ray-tion
to-may-to
mayonnaise
vallay
attended
wealthy
brainy
"Pardon me"
lovely food
"Charmed" or
"Pleased to
meet you"
a stylish dresser
formals
fellow or chap
young lady
close friend
social affair
drapes
mansion
I recall
request
"Permit me to as-
sist you"
converse
presume
SAY:
automobile
real-ly
secretary
ay viator
exit
Marie
column
formidable
cultcha
a-tall
ration (rash)
to ma(h) to
mai-onnaise (my)
valet
went to
rich
clever
"I beg your par-
don" or "Ex-
cuse me"
good food
"How do you do"
"She wears lovely
clothes" or "She
dresses well"
formal clothes
man
girl
a best or intimate
friend
a party
curtains
big house
I remember
ask
"Let me help you"
talk
I suppose
:'-,
FIBS
THE KOTEX* TAMPON
IT'S QUILTED
for extra comfort . . . extra safety!
The Invisible Woy! Fibs, with its
exclusive new features, really solves the
problem of days when less protection
is needed. This new improved Tampon
is more comfortable . . . more secure
. . . easier to use!
Quilting . . » so Important! Special
"Quilting" keeps Fibs from expanding
abnormally in use— keeps the soft cotton
sides in place— thus increasing comfort
and lessening the possibility of injury to
delicate tissues. The rounded top makes
Fibs easy to insert.
Yes, Fibs Cost Less! . . . Only 25c for a
full dozen. Try them next time. Mail
coupon now for trial supply free.
"That's about all," said Mrs. Post, re-
reading the list. "Except you might add
that if the producers would only realize
what one drop of ink will do to a glass
of water, they could easily see how
seemingly unimportant trifles can mar
what might have been a great picture!"
fibs FRFFI
Room 1403, 919 N.Michigan * •»«-*- •
Ave., Chicago, I1L
Please send me FREE trial supply of
FIBS, the Kotex Tampon, mailed in plain
package.
Same
Address
Gty State
C TraM Maril R«. V. S. Pal. 03a)
MARCH. 1939
95
The Shadow Stage
To help ljou select your
l/acatunt. . . 1
■
■
r and othi r
that may l>c conveniently \
r returning . . .
ok lets.
I -ncrr Traffic Manaicr
■ Rou<: i .ruaj
■ oai* .
W I--I US WONDER- J
| LAM' KLU'S FAIR
■ af
H ■
■ ■
■ *'"«- ■
■ a
■ City Stare ■
SPECIAL WORK FOR WOMEN
i up 10 $23 in a arrk and your own dresses free, no
ramajsint. no intcslawat. Write rullriirlng ate. dress size.
FASHION FROCKS. Inc.. O-pr. CC-285. Cincinnati. 0.
"A Woman may Marry
whom She Likes!"
— said Thackeray. This great
author knew the power of wo-
men—better than most women
do. Men are helpless in the hands J
of women who really know how/
to handle them. You have eucb/ '
powers. Yon can develop and use them to win a
husband, a home and happiness. Read the secrets
of "Fascinating; Womanhood" a daring book which
shows how women attract men by using the simple
laws of man's psychology.
Don't let romance and love pass you by. Send us
only 10c and we will bend you the booklet entitled
'Secrets of Fascinating Womanhood" — an inter-
esting synopsis of the revelations in "Fascinating
Womanhood." Sent In plain wrapper.
PSYCHOLOGY PRESS, Dcpt. 4C, St. Loul«. Mo.
PURELY VEGETABLE
LAXATIVE
ADVISED
BY NOTED
OHIO DOCTOR
If jron tod by cor ind its
often resulting li.nl breath, headaches, mental
dullness, lack of tx'p, dull eyes and aggravated
pimply skin DON'T take harsh cathaU
illy uliin you ran enjoy the gentle y<-t
in of I>r. Kdwards'Olhi T.il.-
y f'.r ovi-r 20 years by
I>r. P. M. Kd wards in blaoWTj private prs
Olive Tablets, being purely ngtttiblr, are
■ sd WHAT'S IMPORTANT
liver bile (low to help
thatr piriiliii— TONIGHT I
l ".c. 8
Dr. Edwards' OLIVE TABLETS
PACIFIC LINER-RKORadio
ol.NCK tins has a cholera plague aboard
■ ship, those ol you who hold a brief
for the morbid should ha\ ions
of pretty tense dr. una here. You won't
get it. Victor tVfcLaglen, Chester Mor-
al Wendy Barrie carry on to the
end; Victor as the chief engineer,
the doctor and Wendy as the
nurse. Then the picture ends and you
go home. Alan Hale and Barry Fitz-
gerald have small bits with which to
struggle.
VIVYAN DONNER'S FASHION FORECAST-
20th Century-Fox
USUALLY during a "fashion short" you
take time out to stop looking at the
; and whisper to your beau, "Just
what did your mother mean by that re-
mark about my new hat?" This time,
you'll forget your hat. In this Techni-
color showing of "Wardrobes for Wan-
derlust" for both Northern and Southern
climes, the girls are so stunning, the
clothes so delectable (even if you can't
wear them to the office) and Ilka
S remarks so witty that it leaves
the usual dull style showing back at the
post. It's the gals who will intrigue
your beau — but definitely. They are
the prettiest in the country, so we've
been told, and this reviewer believes it.
BURN 'EM UP O'CONNOR-M-G-M
lIRST in another series, this has Dennis
O'Keefe as a hayseed country boy who
likes to race cars and uses the midget
motor-racing field as locale. He's a
smart-aleck for sure and thus Cecilia
Parker, whose father is a jinxed car-
manufacturer, doesn't think much of
him at first. But then Dennis comes
through with honesty and courage, and
love shines. You see there's a crooked
doctor at the track who always washes
out the eyes of the drivers before each
starting gun. Coincidentally, one pilot
crashes in one of Cecilia's father's cars
at every race. Dennis gets a hunch,
practices driving the track blindfolded
at night. So, at the Grand Prix meet,
you find an unusual and dramatic cli-
max. The value of this picture rests
mainly in the pace set by the minia-
ture cars. See it if you like midget
racing.
THE GIRL DOWNSTAIRS-M-G-M
WlTEN a girl can shine in a role like
this, she's great cinema material. But
then that's not news about Franciska
Gaal, who plays the pretty Swiss scul-
lery maid in this. Her foil is Franchot
Tone, who dates her in order to see the
girl she works for. Then, of course, he
(Continued from page 53)
finds it's Franciska he loves after all.
The picture isn't much, but Franciska
. this for the scenes in which she
appears.
NANCY DREW— DETECTIVE-Warners
ANOTHER series, boys, but nothing to
hold your hats over. This one has
Bonita Granville in it. When a rich
graduate of Bonita's school is kidnapped
before she can endow the place with a
swimming pool, asleuthing goes Bonita
a n d — after incredible difficulties — she
solves everything. Short-wave radio
and carrier pigeons are cast in support-
ing roles. So is attractive young
Frankie Thomas.
A CHRISTMAS CAROL-M-G-M
I HIS is an amazing picture, alternately
touching and corny. In some scenes
you never saw such hamming and one
of the Spirits comes to Scrooge in a
marcelled blond wig topped by what
looks like a Christmas tree ornament.
Then, just as you are working yourself
up to a good laugh at the expense of
the production, along comes a sequence
so nicely done it floods you with tears.
But then that's Dickens for you. Regi-
nald Owen plays Scrooge, the miser who
thinks Christmas is humbug until, on
the holiday Eve, three ghosts come
around to show him the light. Terry
Kilburn is wistful as Tiny Tim, the
crippled boy, and the Lockharts play
his parents. Barry Mackay and Lynne
Carver are the lovers. Leo G. Carroll
does the ghost of old Scrooge's dead
business partner and looks awfully sick,
the while banging his chains around
with a sort of earnest delight as if they
were toys. The main effect of this
whole picture is to make you rush right
out and give all your money away to
the corner newsboy.
*KENTUCKY_20th Century-Fox
Mr. ZANUCK thought so much of this
he made it in Technicolor and gave it
a Carthay Circle premiere-preview.
Whether or not you will agree with him
is problematical. Frankly, it's the old-
est of stories given magnificent produc-
tion; it has a feud between two old
Kaintucky families, it has a horse race
in which the heroine's horse is entered
in order to save the mortgage ("Blue-
grass must win, suh!") and even the
inevitable love story, much frowned on,
between the daughter of one family and
the son of the other. These, respec-
tively, are Loretta Young and Richard
Greene. No one in the picture has even
a trace of a Southern drawl. Walter
Brennan gives a grand, if slightly rasp-
ing, performance as the gentleman
horse breeder, but the real star of the
piece is the color camera. It catches
in breath-taking beauty the gorgeous
Kentucky landscape across which
moves, in real poetry of rhythm and
grace, a succession of magnificent thor-
oughbreds. The show, in any analysis,
is an orgy for horse lovers.
THE LAST WARNING-Universal
DETECTIVES Preston Foster and Frank
Jenks are hired by a rich young man
to trace threat notes which have been
sent to him. The setting is a cheery
house party which loses its gaiety when
two people are murdered and the host's
sister kidnapped. There's E. E. Clive,
the estate's executor; Albert Dekker, the
butler, and a few others for you to sus-
pect. But you'll probably be wrong, al-
though in any case the picture is the
cinema equivalent of a paper-backed
murder story. There's not much gore
and hardly a shock scene.
GOING PLACES— Warners
HERE again Dick Powell is cast as an
innocuous young hero who sings and
watches the races. Maxine Sullivan
gives out with her jazz chamber music
and is a dish, from any standpoint.
Never mind the story; just go to hear
Louis Armstrong's trumpet and to lis-
ten to "Mutiny in the Nursery," "Jeep-
ers Creepers" and "Oh, What a Horse
Was Charlie." Powell is in great voice.
Anita Louise sings a number.
T
TOM SAWYER, DETECTIVE-Paramount
HIS was a swell yarn when Mark
Twain wrote it, but somehow the pro-
ducers and Billy Cook (as Tom) do not
quite catch the feeling of the original
characters. You may remember that this
is the story of Tom and Huck Finn on
Uncie Silas' farm; there's a murder and
there are twins to make the mistaken
identity theme hold good. Porter Hall
and Philip Warren are in the cast, with
Hall playing the vague but lovable Un-
cle Silos.
SWING, SISTER, SWING-Universal
JUST in case this is foisted on you when
you aren't looking, be warned that it is
a little B Minus movie, featuring Ken
Murray and Johnny Downs. Small-
town jitterbugs in the big city have a
success with their first number, make
enough to go home and start a service
station. But the hero takes everything
too big and is knocked down to his
right size, which is Johnny Downs' size
and so not very impressive. Eddie
Quillan is in there pitching.
Casts of Current Pictures
VCHCOMBER, THE" — Mavflowbk-
i by \\ Somerset
M.aiK: Baitietl ( '..Mn. u ■;.
aimer. The ( ait:
n. in- Guthrii
. / . D..IW Mollinger;
/. nni;. J Solomon;
i lirk. Elinl
I ll.rrt.
I) J Ward;
■Ml |<N 'EM if O'CONNOR" \m.\i -
ml Byron Morgan.
I.\ s T \|.,1. , ,hn ( .itnplH-ll.
1
ton; /• (. D
Harrj ' Wdison Richards:
i .■
I, Al.in I utli-; "Hank" Hogan, Tom Nr.il;
Simmons, Tom Collins; Tim UcElwy, Prank
Orth; Jim Nixon, Frank M. Thomas; Mr. Jenkins,
nlcs.
"CHARLIE (HAN IN HONOLULU"— 20ra
Cekturv-Fox. Original screen play by Charles
Hi Id. n. Based on character created b;
Biggers. Directed by H. Bruce Humberstone. The
• -. Sidney Toler; Judy Hayes,
Phylli imci Chan, Sen Yung; .1/ H
i ollina; Randolph, John King; l/rv Carol
■ lil; Dr. Cardigan, ( ■•
( aptain Johnson, Robert Barrat; Jol
Marc Lawn ■ Richard Lane; 3 ommy
Chan, ... Jr.; Wint loo, Philip Aim;
tins, Paul II
" CHRIST M VS CAROL, A"— M-G-M.— Screen
El. iy by Hugo Butler. Prom the novel l>y Charles
Hckena Directed by Edwin L Marin. Ti
Reginald < rwen; Bdb < .
Gene Lockhart; airs, Crauhii, Kathleen Lockhart
Tiny Tim. Terry Kilburn; Fred, Barry Mackay;
i \ nne Carver; Marlry's Ghost, Leo G. Carroll;
Spin: Present, Lionel Braham; Spirit
oj l hrislmai Past, Ann Rutherford; Spirit oft
mas Future, D'Arcy Corrig.ui; Young Scrooge,
Ronald Sinclair.
"GIRL DOWNSTAIRS. THE" — M-G-M -
Prom a story by Alex Hunyadi. Directed \>y
Norman TaumK. The Cast: /Catherine Linse,
Franciska Gaal; Paul Wagner, Franchot Tom-; Mr.
Walter Connolly; Charlemain Crump.
Reginald Owen; Hugo, Barnett Parker; Rosalind
, Rita Johnson; Willie, Reginald Gardiner;
Franklin Pangbornj Mai
Hold. Charles Judels; Frieda, Priscilla I.
Karl, Robert t
"GOING PLACES'— Warners— Screen
Herzig, Jerry Wald and Maurice Leo. Baa <l
upon the play "The Hottentot" by Victor Mapt -
and William Collier, i>r. Directed by Ray En
PHOTOPLAY
The Cast: Peter Mason. Dick Powell; Ellen Parker,
Anita Louise; Droopy, Allen Jenkins; Jack Wither-
ing, Ronald Reagan; Franklin Dexter, Walter
Catlett; Moxie, Harold Huber; Frank, Larry Wil-
liams; Col. Withering, Thurston Hall; Cora With-
ering, Minna Gombel; Joan, Joyce Compton;
Frame, Robert Warwick; Desk Clerk, John Ridgely;
Night Clerk, Joe Cunningham; Groom, Eddie
Anderson; Sam, George Reed; Gabe, Louis Arm-
strong; Speciality, Maxine Sullivan.
"GREAT MAX VOTES. THE"— RKO- Radio
— Screen play by John Twist. From an original
story by Gordon Malherbe Hillman. Directed by
Garson Kanin. The Cast: Gregory Vance, John
Barrymore; Donald, Peter Holden; Joan, Vir-
ginia Weidler; Iron Hal, ilcCarty, Donald Mac-
Bride; Byrnes, Clarence Kolb; Miss Billon-,
Katharine Alexander; Manos, Luis Alberni;
Gillings. J. M. Kerrigan; Davy, Benny Bartlett;
Chester Ainslee, Brandon Tynan; Phoebe Ainslee,
Elizabeth Risdon; The City Mayor, Granville
Bates; Charles Dale, Charles D. Brown; Iggie,
Darwood Kaye; Fuz Washington, Stymie Beard;
Marge Gillings, Priscilla Lyon; Tommy, Eddie
Syracuse; Raffcrly Twins, Wayce and Warren
Hull; Principal, Esther Dale; Truck Driver,
Murray Alper; Bradley, Joe Bernard; Cops,
Kernan Cripps and George Voile
"KENTUCKY"— 20th Century-Fox— Screen
play by Lamar Trotti and John Taintor Foote.
From the story "The Look of Eagles" by John
Taintor Foote. Directed by David Butler. The
<ally Gooduin, Loretta Young; Jack Dillon,
Richard Greene; Peter Goodwin, Walter Brennan;
John Dillon US61), Douglas Dumbrille; Mrs.
Goodwin (1861), Karen Morley; John Dillon
(1937 I. Moroni Olsen; Thad Goodwin. Sr. (1861),
Russell Hicks; Bob Slocum, Willard Robertson;
Thad Goodwin (1937), Charles Waldron; Ben,
George Reed; Peter Goodwin (1861), Bobs Watson;
Thad Goodwin, Jr. (1861), Delmar Watson; Grace
Goodwin, Leona Roberts; Auctioneer, Charles
Lane; Southerner, Charles Middleton; Racing
Secretary, Harry Hayden; Track Official, Robert
Middlemass; Lily, Madame Sul-Te-Wan; Melish,
Cliff Clark; Susie May, Meredith Howard; Pre-
siding Officer, Fred Burton; Doctor, Charles Trow-
bridge; Groom, Eddie Anderson; Presiding Judge,
Stanley Andrews.
•LAST WARNING. THE"— UNIVERSAL—
Screen play by Edmund L. Hartmann. Original
story by Jonathan Latimer. Directed by Al
Rogell. The Cast: Bill Crane, Preston Foster; Doc
Williams, Frank Jenks; Linda Essex. Frances Rob-
inson; John Essex, Raymond Parker; Dawn Day,
Joyce Compton; Carla Roariguez, Kay Linaker;
Major Barclay, E. E. Clive; Higgs, Albert Dekker;
Tony Henderson, Robert Page.
"NANCY DREW— DETECTIVE"— Warners
— Original screen play by Kenneth Garnet. Based
on the "Nancy Drew" stories by Carolyn Keene.
Directed by William Clemens. The Cast: Xancy
Dre-.v, Bonita Granville; Carson Drew, John Litel;
Chalion. James Stephenson; Ted Sickerson,
Frankie Thomas; Inspector Milligan, Frank Orth;
Effie Schneider, Renie Riano; Mary Eldridge,
Helena Phillips Evans; Hollister, Charles Trow-
bridge; Keifer, Dick Purcell; Adam Thorne, Ed
Keane; Dr. Spires, Brandon Tynan; Miss Van
Deering. Vera Lewis; Miss Tyson, Mae Busch;
Spud Murphy, Tommy Bupp; Mrs. Spires, Lottie
Williams.
"PACIFIC LINER"— RKO-Radio — Screen
play by John Twist from story by Anthony
Coldewey and Henry Roberts Symonds. Directed
by Lew Landers. The Cast: Crusher McKay,
Victor McLaglen; Doctor Craig, Chester Morris;
Ann Grayson. Wendy Barrie; Gallagher, Alan Hale;
Britches, Barry Fitzgerald; Bilson, Allan Lane;
Captain Mathews, Halliwell Hobbes; Deadeyes,
Cyrus W. Kendall; Metcalfe, John Wray; Wishart,
Paul Guilfoyle; Olaf, Emory Parnell; Silvio, Adia
Kuznetzoff; Kovac, John Blelfer.
"PARIS HONEYMOON" — Paramount —
Screen play by Frank Butler and Don Hartman.
Based on a story by Angela Sherwood. Directed by
Frank Tuttle. The Cast: Lucky Lawton, Bing
Crosby: Manya, Franciska Gaal; Peter Karloca,
Akim Tamiroff; Sitska, Ben Blue; Ernest Figg,
Edward Everett Horton; Countess De Remi, Shirley
Ross; Count De Remi, Gregory Gave; Fluscltotska,
Raiaela Ottiano; Butler, Keith Kenneth.
"SMILING ALONG"— 20th Century-Fox—
Screen play by William Conselman. Scenario by
Val Valentine. Directed by Monty Banks. The Cast:
Grade Gray, Gravie Fields; Bert, Roger Livesey;
.4::;, Mary Maguire; Rene Sigani, Peter Coke;
Denis. Jack Don-jhue; Jack. Hay Petrie; Charlie,
Mike Johnson; SUwo, Eddie Gray; The Three
Bolas. Tommy Fields. Gladys Dehl an<!
Rossini; Silas Gray, Edward Rigby; Bill
Joe Mott; De Courcy, Pliillip Leaver; Mr.
(do*), Skippy.
"STAND LP AND FIGHT"— M-G-M— Adapt-
ed from Forbes Parkhill's novel of the same title.
Directed by W. S. Van Dyke. The Cast: Blake
Cantrell, Robert Taylor; Capl. "Boss" Starkey,
Wallace Beery; Susan Griffith, Florence Rice; Aunt
Amanda, Helen Broderick; Arnold (alias Morgan),
Charles Bickl'ord; Old Puff, Charley Grapewin;
Crowder, Barton MacLane; Sheriff, Robert Gleck-
ler; Colonel Webb, Jonathan Hale; Marshal Cole,
Minor Watson; Mrs. Talbot, Claudie Morgan;
Davey, John Qualen; Enoch, Clinton Rosemond;
Ross, Cy Kendall; Allan, Paul Everton; Talbot,
Selmer Jackson.
"SWING. SISTER. SWING"— Universal—
Screen play by Charles Grayson. Story by Burt
Kelly. Directed by Joseph Sanlley. The Cast:
".Yap" Sister, Ken Murray; Johnny, Johnny
Downs; "Snookie," Kathryn Kane; "Chick,"
Eddie Quillan; Prof. Beebee, Ernest Truex; Nona,
Edna Sedgwick; Hyacinth, Nana Bryant; Mrs.
Fredericks, Esther Howard; Mrs. Beagle, Herbert
Heywood; "Ma " Sudor, Clara Blandick; and Ted
Weems Orchestra.
"THEY MADE ME A CRIMINAL"— War-
ners— Screen play by Sig Herzig. From a story by
Bertram Willhauser and Beulah Marie Dix.
Directed by Busby Berkeley. The Cast: Johnnie,
John Garfield; Peggy, Gloria Dickson; Phelan,
Claude Rains; Grandma, May Robson; Tommy,
Billy Halop; Dippy, Huntz Hall; Spit, Leo Gorcey;
T. B., Gabriel Dell; Angel, Bobby Jordan; Milt,
Bernard Punsley; Sheriff, Raymond Brown; Smith,
Louis Jean Heydt; Lenahan, Ward Bond; Rucheck,
Frank Riggi; Manager, Cliff Clarke; Colucci, Dick
Wessels; Fight Announcer, Sam Hayes.
"TOM SAWYER, DETECTIVE" — Para-
mount—Screen play by Lewis Foster, Robert
Yost and Stuart Anthony. Based on the novel by
Mark Twain. Directed by Louis King. The Cast:
Tom Sawyer, Billy Cook; Huckleberry Finn, Don-
ald O'Connor; Uncle Silas, Porter Hall; Jeff Rut-
ledge, Philip Warren; Ruth Phelps, Janet Waldo;
Aunt Sally, Elizabeth Risdon; Jupiter Dunlap and
Jake Dunlap, William Haade; Brace Dunlap,
Edward J. Pawley; Sheriff Slocum, Clem Bevans;
Judge Tyler, Raymond Hatton; Prosecutor, Howard
Mitchell; Clayton, Stanley Price; Dixon, Harry
Worth; Aunt Polly, Clara Blandick; Farmer Sikes,
Si Jenks; Tulip, Etta McDaniel; Curfew, Oscar
Smith.
"TOPPER TAKES A TRIP'— Hal Roach
United Artists — Screen play by Eddie Moran,
Jack Jevne and Corey Ford. Based on the novel
"Topper Takes a Trip." by Thorne Smith. Directed
by Norman Z. McLeod. The Cast: Marion Kerby,
Constance Bennett; Cosmo Topper, Roland Young;
Mrs. Topper, Billie Burke; Wilkins, Alan Mow-
bray; Mrs. Parkhurst. Verree Teasdale; Louis
Franklin Pangborn; Baron de Rossi, Alaxander
D'Arcy; "Mr. Atlas." Skippy; Bartender, Paul
Hurst; Jailer, Eddy Conrad; Judge, Spencer
Charters; Prosecutor, Irving Pichel; Defender,
Paul Everton; Gorgan, Duke York; Bell Boy,
Leon Belasco; Magistrate, Georges Renavent;
Waiter, George Humbert; 2nd Waiter, Alphonse
Martell; Bailiff, James Morton; Doorman, Gorben
Meyer; Porter, George Davis; Clerk, Armand
Kafiz.
"WINGS OF THE NAVY"— Warners— Origi-
nal screen play by Michael Fessier. Directed by
Lloyd Bacon. The Cast: Cass Harrington, George
Brent; Irene Dale, Oh via de Havilland; Jerry
Harrington, John Payne; Scat Allen, Frank Mc-
Hugh; Commander Clark, John Litel; Lt. Parsons,
Victor Jory; Prologue Speaker, Henry O'Neill;
Dan Morrison, John Ridgely; Lt. Harry While,
John Gallaudet; Instructor, Donald Briggs; Ted
Parsons, Edgar Edwards; First Flight Instructor,
Regis Toomey; Armando Costa, Albert Morin;
Commandant, Jonathan Hale; Capt. March,
Pierre Watkin; Officer of the Day, Don Douglas;
Drilling Officer, Max Hoffman; Check Pilot, Alan
Davis; Aviator, Larry Williams.
"ZAZA" — Paramount — Screen play by Zoe
Akins. From the play by Pierre Berton and
Charles Simon. Directed by George Cukor. The
Cast: Zaza, Claudette Colbert; Dufresne, Herbert
Marshall; Cascart, Bert Lahr; Anais, Helen
Westley; Nathalie. Constance Collier; Florianne,
Genevieve Tobin; Malardot, Walter Catlett;
Bussey, Rex O'Malley; Mtehelin, Rex Evans.
Brief Reviews
(Continued jrom page 6)
• GREAT WALTZ, THE-M-G-M
To the thrilling strains of Johann Strauss' best
loved waltzes, the colorful story of the great Vien-
nese composer's life is transferred to the screen with
Fernand Gravet as Strauss. Luise Rainer as his
self-sacrificing wife. Miliza Korjus, recent foreign
import, sings like the proverbial lark. Outstanding
photography and direction. (Jan.)
HARD TO GET-Warners
No problem play this, but fair amusement pro-
vided by a new cineromantic team, Dick Powell and
Olivia de Havilland. Olivia is a madcap heiress,
Dick a gas station attendant. Plenty going on of
the wacky variety and Dick scarcely sings a note —
which is news. (Jan.)
• HEART OF THE NORTH-Wamers
Warners have taken tue greatest chase melo-
drama of them all, put it into Technicolor and the
result is surprising and exciting. It begins with
bandits, stealing trappers, gold, killing a police-
man. Red-coated Dick Foran then starts in pur-
suit and boy, does this Mountie get his man!
Gale Page and Gloria Dickson both work then-
wiles on Foran. Great fun. (Feb.)
• IF I WERE KING-Paramount
A rich period piece, elaborately embroidered
with spectacular sets, huge crowds of peasants and
princes and charmingly acted by the chief protagon-
ists. Ronald Colman as Francois, the ISth Century
poet-adventurer, and Basil Ralhbone (superb) as
the sly, craven Louis XI. Frances Dee is de-lightful
as the lady-in-waiting who captures Colman's heart
after Ellen Drew has had it. This is your dish. (Dec.)
INSIDE STORY-20th Century-Fox
The second in the "roving reporter" series finds
Michael Whalen again the intrepid newsman in-
volved in a night-club murder when the villain
steals the witness, Jean Rogers. Oh, well, it all
works out. A weak sister. (Jan.)
• JUST AROUND THE CORNER-
20th Century-Fox
Shirley Temple's studio has given her a perfect
formula for her growing-up talents in this gay
picture. Daughter of a depression ruined architect
(Charles Farrell). she manages to charm a flint-
hearted old mogul into putting papa back into
big-time money. Joan Davis. Bert Lahr, Cora
Witherspoon, Bill Robinson and others do their
stuff. (Jan.)
KING OF ALCATRAZ-Paramount
A hard-fisted drama of a pair of friendly enemies,
Lloyd Nolan and Robert Preston, who forget their
Do You Want To
"Feel Like A Million Dollars"
ALL THE TIME?
Then follow the simple, easy directions Ber-
narr Macfadden gives you in this new book,
Exercise And Like It. X'o longer is exer-
cising a dull, laborious effort. Bernarr
Macfadden's book makes it fun ... a game
with glowing, vibrant health as the prize.
Here's a new start for countless men and
women who have been living a half-power
existence — the same formula that Bernarr
Macfadden has applied to his own life and
made him the most amazing specimen of
dynamic good health of our age.
Regain Your Youthful Vigor
In Exercise And Like It, Mr. Macfadden
offers you men a new, simple method for
regaining youthful vigor ... a definite
plan for increasing your personal efficiency.
He places at your disposal a program which
takes you out of your depths of despair and
makes you vitally alive . . . full of zest and
enthusiasm. By following his plan you
soon become a more attractive person . . .
a happier person ... a healthier person.
Exercise properly done develops not merely
the external appearances of youth, but the
internal stimulus of youth as well. Sex re-
juvenation by gland treatment has been ex-
aggerated by many writers as the only way
to regain sexual youthfulness. Yet, if we
would develop the general qualities of phys-
ical youth, then these will be reflected in
the more specializd qualities of sexual
youthfulness.
Become a Human Dynamo
In Exercise And Like If, Bernarr Macfad-
den shows you how to reach out and pluck
the greatest rewards which life has to offer.
Make no mistake about this book — it is not
an exercise drill-book . . . not a dr.
course on health. It's alive ... its every
page contains priceless information — in for-
mation which will transform men into dyna-
mos of energy — information which will de-
velop women into lovely, sparkling, beau-
tifully formed creatures.
Practically from the time you begin using
Exercise And Like It, you will notk
mediate improvement. Don't put off the
sound, zestful health you should — and can
— have any longer. Order your copy of Ex-
ercise And Like It TODAY. At your
booksellers or direct from the publishers.
Only £1.00
The price of this powerful, new 10.
book, containing over 50 illustrations, is but
$1.00. If not obtainable from your book-
seller, send one dollar to address below and
book will be sent to you postage prepaid
Macfadden Book Co.. Inc.. Dept. P3.
20S East 42nd Street. New York, H. Y.
Send me postage prepaid. Beruan ptal |
new book. Exercise And Like It
NA.MK ....
ADDRESS
CITT.
□ Check here if you wl<h the bonk sent C. O. D. I
— you to pay postal charges upon dJelli
Send Your Boy to Bernarr Macfadden's Man-
Building School at Lebanon, Tennessee. • Ac-
cepted by all educational institutions as a
high-class preparatory school and junior col-
lege. • Ages accepted from nine years. • Pre-
pare your hoy for the battle of professional or
business life by making him a square-shoul-
dered, double-fisted fighting man. • Write for
information to Castle Heights Military Acad-
emy, Lebanon, Tenn.
Want a CAREER in
Photography?
Fascinating field. Wonderful opportunities! Com-
mercial. News. Portrait. Advertising, Natural
Color, and Motion Picture photography. Train at
Home or In our modern studios. Famous experts
will be your teachers. 29th year. Send for booklet.
NEW YORK INSTITUTE OF PHOTOGRAPHY
10 West 33 St. (Dept. 37) New York City
can
ifcUt*
Smith Bros. Cough Syrup con-
tains Vitamin A. This vitamin
raises the resistance of the mu-
cous membranes of the nose
and throat to cold infections.
6 Oz. Bottle Only 60?
/7/t Cc&tvotnical
GRAY HAIR m**^
Can/IWbe Made at Home
YXTHY worry over gray hair when at small cost yon
* * can make at home a grenerous size bottle of one
of the best gray hair preparations you can use? Sim-
ply gret from your druggist one-fourth ounce glycer-
ine, one ounce bay ram, one box BARBO Compound.
Mix in a half pint of water, or your druggist will
prepare it for yon.
BARBO imparts a lustrous, natural-looking color
to gray, faded or streaked hair,
whether blond or dark. It is easy to
apply; does not wash out or rub off;
will not color the scalp; is not sticky
or greasy and leaves the hair soft
and glossy. BARBO is most ^^
economical and has been &?\
successfully used for 25 V?\ \.
years. Try the money-sav- f~ rZl\ >
ing BARBO recipe today. V^g_ ^-~
SMITH
BROS
COUGH
SYRUP
v\0 Hi/.
men love >nrn
GIRLS WITH PLT
If you are peppy and full of fun, men will invite
you to dances and parties.
BUT if you are cross, listless and tired, men
won't be interested. Men don't like "quiet" girls.
When they go to parties they want girls along who
are full of pep.
So in case you need a good general tonic, remem-
ber for three generations one woman has - told
another how to go "smiling thru" with Lydia E.
Pinkham's Vegetable Compound. It helps build up
more physical resistance and thus aids in giving
you more pep and lessens distress from female
functional disorders.
For free trial bottle tear this out and send with
name and address to Lydia E. Pinkham Medicine
Co., 729 Cleveland St., Lynn, Mass.
Pinkham's is WELL WORTH trying!
COMPOUND
MARCH , 1939
97
DON'T LET
JANGLED NERVES
Wreck Your Life
Bornarr Mecfaddon't new i Power
help (or those ' om nervous dis-
book
•
ic-.o'* u the
ind Iho d- iimenls em-
-u get
ory— not experimentation — but tho last
n modernized physical and mental hy-
giono for nervous sufferers.
Here in 246 pages of intensively interesting
reading yoi. o« you can gain com-
plete control over your nervous system. How
you can banish fear, worry, aniiety. How you
can mend your shattered nerves and once
again onjoy the thrill of living.
More Power to Your Nerves sells for only
$2.00. And if you are not satisfied with the
book, merely return it within 5 days and we
will refund your $2.00. Send for your copy
today.
MACFADDEN BOOK CO.
Dept. P-3
205 East 42nd St., New York, N. Y.
TYPEWRITER Bargains
la. utc., wfintahad lift' oAos models
mll-.aijlpri.r. lu o»r lri«l — lullr
c.du. Pr«« cateJac. Limited •opplr.
_ " 231 W. Monroe St.
InUrnationsI Typ«wrlt»r Eich., p«pt. 362. Chlcaxa
KILL THE HAIR ROOT
1. « ..II 1 S.-t.d
npi TODAY for Itlustr.itrd Book-
¥ to Remove Superfluous Hair
FREE
ENLARGEMENT
Just to frel acquainted,
tifully en-
ur ravor-
ture, photo »r snapshot
FREE — if J ou em
this ad with 10c for return mailintr.
Infi.nn.itii. n on hand tinting In natu-
FREE with :i frame, sent
Immediately. Tour original re-
turned with your free enlargement
i your snapshots now and
IF \ \ VI I lllus.
ii. 1. 1 184, i i> n. ir.ih si., ontii ii:i. Refer.
IRON
BEAUTIFULLY
SPEEDILY
Here'* that modern way +4ADDII v/
to h»t itarefa without tit^^h'il.t .
mixing, boiling and bother an with lump starch.
Makes ■tmrchtng easy. Makes ironing easy. Ke-
■ tores elasticity and that soft charm of newness.
No sticking-. No scorching. Your iron fairly
, I tion. Tins 1 1 ■
convinces. Trial Pa
tifMiWI.HI,
THANK YOU ,
I TliK llllilNGER CO., No. 664. Keokuk la. j
| Your free sample of QUICK ELASTIC, please. I
"That Wonderful Way to Hot Starch."
LADY OBJECTS, THE-Columbia
probli in- ..f
ii sod
LISTEN DARLING-M-G-M
!■ in .in.! how
.'. hen widow
l love,
.1 -ii Freddie Bartholo-
,i hand, find .. i
i imil) hi Waltei Pidgeon. It's
\. i> ninny. (J
LITTLE ORPHAN ANNIE-Colonial-Paramount
but, If you lit.- the
i will probably t>
appointed. Ann Glllis ii limfe and, believe-lt-or-
prize fighter. I he town I
big fight, lint you
kn..» »ii..t happens then, don't y..u.' (i
LITTLE TOUGH GUYS IN SOCIETY-Universal
me when they get
.in invitation from Mary Bound to t., k< .. vacati.ni
at a -tt..llk . ' i. boy I'M !
t.. make a man ..ut oi tali bral Jackie Sari.-, finally
1..1I a holdup. Ii you like tin- tort oi pudding. Web.)
* MAD MISS MANT0N, THE-RKO-Radio
Stanwyck, carrying her furs with great
aplomb Avenue heireaa, runs afoul a
murder in the first reel. Bodies continually dis-
but "Babs" and her coterie of debs clear
Clime wave in a swank way to the di-uu-t
oi Henry Fonda, a hard-working reporter. You will
Krin like -illy all the way through- (Jan.)
* MAN TO REMEMBER, A-RKO-Radio
.pealing story of a country doctor m- >r<*
interested tn tin- life and death of his patients than
in lu- hank account. I ee Bowman, as the son who
i nits him. Anne Shirley, as his adopted
daughter, arc splendid, hut it'a Edward Ellis, as the
medicine man, who steals his own show. (Dec.)
• MEN WITH WINGS-Paramount
Due t<. expert technical direction and Techni-
Color, this i> in the main an exciting,
saga of men's conque-t of the air from the Wright
Brothers to Howard Hughes. Basting it together is
a triangle love affair between Louise Campbell,
Fred M.tcMurray and Kay Millund. Great spec-
tacle. {Jan.)
MR. DOODLE KICKS OFF-RKO-Radio
Ju-t le titli- indicates, this allows Joe
Penner to be band leader, Ping-pong champion,
football player and general campus cut-up . . . and
hell make you laugh in tin- bargain. Otherwise just
another college pix. [Dec.)
NIGHT HAWK, THE-Republic
p issibly .-n a double liill you will grab this little
melodrama of gangsters and iron longs. Relax. It's
not bad. Bob Livingston plays the reix.rter who
gets past hijackers with a respirator tu help Bob
Armstrong's sick brother. June Travis is easy to
look at. (Dec.)
• OUT WEST WITH THE HARDYS-MGM
The latest in this amnring serie-. this cannot fail
k the box office in its own right. The Hardys
.Lewis Stone, Mickey Rooney, Cecilia Parker and
lay Holden) go ranching, find the Wild West is
i than they thought it would be. The.'
1. pulls Mickey's ridiculous chestnuts out of
the fire. (Feb.)
■k PARADE OF DISNEY SHORTS-RKO-Radio
In this series of eight shorts, Mickey M
father proves again the ineffable amusement in
animated cartoons. "Ferdinand the Bull," "The
Ugly Duckling," "Mother Goose (iocs Holly-
Lucky Day." "Th.- Practical
"Goofy and Wilbur," "The Brave Little
Tailor" and "Barnyard Symphony" . . . we hope
you catch each and every one. (Dec.)
PARDON OUR NERVE-20th Century-Fox
In this, you get Lynn Bar! ami I
prize-fight manageresses. Tin- situation i
few laughs with "Big Boy" William
Edward Brophy gagging as if they meant it.
Michael Whalen supplies the romance, such as it
PECK'S BAD BOY AT THE CIRCUS-RKO-Radio
This tale is just what you expect it I., be. with
Tommv kcllv being much loo angelic for "IVck's
Bad Boy. Benita Hume (Mrs. Ronald Colman)
McFarland aj i The kid-'
ill all I..- lined up in front of the theater,
but y..u bettei -kip itt i
WITHOUT BARS-Korda-United
• PRISON
Artists
Whili familiar ring to its reform
excellent photography put this
film int.. the higher In Best
uperintendent who neglects her fiance, who
promptly falls for a young inmate. Corinne
i the eternal triangle in prison, (Feb.)
• PYGMALION-Pascal-M-G-M
wit and wisdom trickle
delightfully through his first foil-length picture. A
i interpretatii the sculptor
win. I. .11- in love with hi- statue, this had to do
with .. | an ignor-
ant Bower girl, builds her int.. a beauty, fall- in
i Howard, Wendy
Hiller ..ml Willi.. I I. aw -on are brilliant — so is the
production. I'lcase go. (Feb.)
RIDE A CROOKED MILE-Paramount
■i my to help I
th.- law woman who clings
through 1 1. iik and .
* ROOM SERVICE-RKO-Radio
i of the play
down-aUthe-
I..-.-I pi
d to net any bread to put
butter on foi them all. Frank AJbertson, Donald
Mat Bride, Philip I---* b and the
will h ill laughtei at moments.
SAY IT IN FRENCH-Paramount
When Ray Milland returns from Fur..i>e with a
ithet plans to announce his engagem.
In-iii- Hervey, an heiress who can holirt th.- family
bank account, t rut
upporUng cast i^ in top
form.
SECRETS OF A NURSE-Universal
Put a mil fight racketeer, a criminal
lawyer, a prize ng -. yell "Roll cm"
and you net this. Nur-e Helen Mack loves fighter
Dick Foran; attorney Edmund Lowe loves Helen;
nobody loves anybody else, and someone is killed.
OI. well ...
SERVICE DE LUXE-Universal
Colly, this is a bad picture. There was originally a
good idea ill a woman running a personal
bureau while on the lookout for a husband, but the
humor missed lire. Conine Bennett i- the inventive
business gal. Vincent Price (late oi "Victoria
Kcgina" on ti - nicely in his first screen
role. (Jan.)
SHINING HOUR, THE-M-G-M
A somewhat tarnished story of a dancer who
marries a rich Southerner. The psychology behind
his snobbish family's reactions is slightly dated,
but Joan Crawford and Margaret Sullavan both
give magnificent performances. The rest of the
Mt-lvyn Douglas, Robert Young and Fay
iiainter —are too good also to miss, (Feb.)
• SISTERS, THE-Warners
Myron Brinig's novel dealing with the varying
romances of three sisters, against a San Francisco
background in the early '90's, emerges on the
screen as one of tile ureal emotional dramas of the
year. Emphasized is the marriage of Belt*- I >
a drunken, irresponsible newspaper man, Krrol
Klynn. Anita Louise, Jan.- Bryan, Beiilah Bondi and
Henry Travers are outstanding. On your "must"
list. [Dec)
SONS OF THE LEGION-Paramount
KM)' illy glorified in this
sentimental pi.-e.- concerning a former soldier dis-
honorably discharged and the effect of this on his
two son- who wish to join the Legion. Tim Holt,
Billy Cook, Billy la-.-, Lynne Overman and Eliza-
beth Patterson contribute touching moments. {Dei ■)
SPRING MADNESS— M-G-M
Add another college picture on the not-so-hot
side. Lew Ayres is the Harvard senior who doesn't
want to get married. But Maureen O'Sullivan's
gal-pals gang up on him and everything winds up
(including his hopes fur a free life) at the spring
dance. Burgess Meredith, as Ayres' friend, hams
a little. (Feb.)
• STABLEMATES— M-G-M
A- a workout for the tear ducts, this is another in
the four-handkerchief clas>. Wallace Beery has
again his sad-eyed "Champ" role as the discredited
horse doctor; Mickey Rooney, with a heart of gold,
is his pal. Margaret Hamilton and Marjorie ;
son are elegant support. The Rooney is iiuite at
home. (Dec.)
STORM OVER BENGAL-Republic
A bang-up melodrama, this has the oldest of
plots and a simulated English accent. Fatric
Knowles is the intelligence service aviator who dis-
covers the ^^■cr.■t radio station among native
tribes; Dick Cromwell gets heroic and Rochellc
Hudson is the only girl in the caiload. {.Feb.)
STORM, THE-Universal
A whirlwind of action takes place in this minor
drama. Charles Bickford, he-man wireless operator.
Barton Macl. ane put on terrific
brawls when Bickford's pal,- Preston Foster, dies
on Shi "I Brown and Nan Grey are
loverlike; Andy IVvinc and Frank Jenk» supply
the comedy. (Jan.)
if STRAIGHT, PLACE AND SHOW-20th Cen-
tury-Fox
Three bad men on a horse, the RitZ Brothers, skim
through this race-track story with their usual balmi-
liirk Arlen and Phyllis Brooks are the nag's
owner-; they land behind the eight ball and so docs
the liorM-. Ethel Merman's torch songs are swell.
(Dec.)
■k SUBMARINE PATROL-20th Century-Fox
An excitingly well-handled story of the splinter
fleet, that World War group of ships which hunted
enemy submarines. Richard Greene is the rich
iu.wn the error of his ways by Nancy Kelly
(Zanuck's new find — and nice); Preston Foster
1 ,i- tin- officer who heroically regains his
nation. Very tine. (Jan.)
* SUEZ-20th Century-Fox
If you like your history artistically (if D
truthfully) told, you will be highly entertained
watching Tyrone Power, as Ferdinand Jc I
dig the Suez Canal. Loretta Young, as Empress
... and Annalx-lla, as a French gamin with
a heart of gold, take his mind off his work at times.
The photography, the simoon sequence and the
supporting oisl are exciting. (Jan.)
• SWEETHEARTS-M-G-M
H. n. M ,. I). natd-Nelson Eddy film
a married, playing in .. stage
Frank
'. a produce] kuer, a playwright,
and Reginald Gardiner, .. Hollywood agent. This
has beauty and the delicious melodfa
Herbert -ung by the pair— both in perfect t
(Vou'll go without any of our remarks.) (Jan.)
SWING THAT CHEER-Universal
You swing it -we give it I., you. We're kind of
tired ..! football at thft r>>int, but maybe you can
it -ill ol Ian Brown and
ring a rni-understaridirn-
Finally, there's the day of
The Big i, ..a. , ti.. la-la.
• THANKS FOR EVERYTHING-20th Century.
Fox
Americanism and democracy are the keynotes
in tin- highly ami] in.l the
nation's -ample average man chosen by two ad-
vertising demon-. Adolphe MenjoU and Jack
"average" reactions will make
y.ui roar and the romance quotient i- supplied by
Arl.-en Whelan and Binnie Barm -. Have a good
• THANKS FOR THE MEMORY-Paramount
A- "Thanks for the Memory" was such a song
hit, Paramount decided (and right they m
give u- tbifl film by way ol an encore. Bob Horn- and
arc reunited as the young married
couple who have trouhle for a roommate. One of
the best comedies of the month. (Feb.)
• THAT CERTAIN AGE-Universal
Check up another triumph for Deanna Durbin's
singing in this -lory of a young girl's infatuation for
an older man (Melvyn Douglas) and her reaction to
the pangs of first love. Irene Rich and John Halli-
day as Deanna*8 parents and Jackie Cooper as her
beau are exceptional support. Delightful. (Dec.)
THERE GOES MY HEART-Hal Roach-United
Artists
A dated story on the "It Happened One Night"
angle with Freddie March miscast as the newsman
chasing Virginia Bruce, an heiress bored with her
dough. Patsy Kelly is (iinny's shop-girl friend and
g.-t- any laughs there are. if you are a devotee of
the goofy school. (Dec.)
• THERE'S THAT WOMAN AGAIN-Columbia
In this delightful film seqnel to "There's Always
a Woman. " Joan Blondell has been miraculously
changed into Virginia Bruce, but Melvyn Douglas
continues on in his r61e of high-class detective
whose giddy wife decides to crack the big jewel case
in her own way. -Sparkling and ingratiating. (Feb.)
• TOO HOT TO HANDLE-M-G-M
A sjK'ctacular saga of newsreel men and an
aviatrix, filled with explosive action and suspense.
Gable is at his exuberant best as the sly camera-
man who uses his charm to entice flyer Myrna Loy
to rake .i few shots, finally wins her from rival
Walter Pidgeon in line style. If you liked "Test
Pilot," you'll be nuts about this seQuel. (Dee.)
TOUCHDOWN ARMY-Paramount
John Howard is the smart-aleck ace football hero
who comes to West Point, take- a lx*ating because
he isn't "regular." Mary Carlisle, the Major's
daughter, then puts in her oar, and Love and the
Army team set out to win. Straight autumn cinema.
• TRADE WINDS— Wanger-United Artists
Fraught with suspense and action, this drama
flits up and down the scale of human experience
and half around the globe before the climax.
Suicide, murder, flight and pursuit are all in a
day's work to Joan Bennett, Frednc March, Ralph
Bellamy, Ann Sotliern, Sidney Blackmer and
Thomas Mitchell. A lively and entertaining evening.
CP«60
UP THE RIVER-20th Century-Fox
If you are not sick of prison pictures, you may
find some humor in this remake (it was originally
filmed eight years ago) kidding the prison system.
a Foster anil Arthur Treacher arc the con-
fidence men in stir who discover Tony Martin
about to make a break for freedom. They fix
things up just dandy and in addition steal the show.
VACATION FROM LOVE-M-G-M
We thought we had said finis to screwball
comedies schooled in an asylum, but no . . . Dennis
O'Keefe and Florence Rice are pretty dizzy in this
one, marrying in haste and reix-nting in leisure.
Reginald Owen is perfect as the capitalist father
who wants miracles of service because he pays his
taxes, doesn't he.'
• YOUNG DR. KILDARE-M-G-M
Lionel Barrymorc and Lew Ayres both handle
their jobs with sincere competency in this conven-
tional story of a veteran physician's faith in a
young intern who prefers a metropolitan hospital
ward to country practice, lands in trouble when he
i rich patient. Jo Ann Saycrs (new to films)
is Ayres' romance. (Jan.)
• YOUNG IN HEART, THE-Selznick-U. A.
Introducing a giddy family which lives by its
wit- on other people's pocketbooks. Billie Burke is
the flighty mamma; Roland Young, the upstart
father; Janet C.aynor and Doug Fairbanks. Jr.,
brother and sister. Paulettc Goddard is Doug's
heart interest, Richard Carlson, Janet's. Minnie
Dupree Is elegant as the rich old lady who changes
the family's tune. A good job. (Jan.)
YOUTH TAKES A FLING-Universal
There is something satisfying in this unpreten-
tious picture of a girl's attempts to follow the adage
"the way to a man's heart is through his stomach."
J ii-l McCrea Couldn't he l>ettcr as the Kansas farmer
boy who yearns for the sea; Andrea Leeds is prettily
adequate as the shop girl. Lots of chuckles. (Dec.)
* ' HAU. ininiNG CO.
98
PHOTOPLAY
1
B0y s**** Sfft
Rl ^^^^ " VlS
'0Pei,
'er
aranteeil l>\
lluilx-ketrpinj
aci\erti»t-d
therein
* WITNESSED STATEMENT SERIES:
AT JUDGING TOBACCO
FRED EVANS of Danville, Va, has been an
independent tobacco buyer for 18 years.
His record shows he knows tobacco. Mr.
Evans says: "I've smoked Luckies 12 years
— I've seen that they always buy the best
line of tobacco." Most other indepen-
dent experts also smoke Luckies.
C
i<?>
■ I
Hove you tried o
LUCK/ lately ?
*»»
Easy on Your Throat-
Because 7FS TOASTED
RECENT tobacco crops have been outstanding in quality.
New methods, sponsored by the United States Govern-
ment, have helped the farmer grow finer tobacco. Luckies
have been buying the cream of these finer crops. So Luckies
a- better than ever. Have you tried a Lucky lately? Try them
a week and see why... W|TH MEN WHO KNOW TOBACCO BEST-ITS LUCKIES 2 TO
>
It
▲
NORMA SHEARER
By Paul Htsse
SPRING FASHIONS FROM HOU
Exclusive Forecast of What the America
f I Waited Five Years" Nelson Eddy's Own Sic
Reborn!— How GEORGE BRENT Brought Nev.
l Marriage
"=7^
\^>R^
In addition lo appearing in the motion picture
publications, this column also appears every
month in American, Cosmopolitan, College Humor,
McCall's, Redbook, look and liberty Magaxines.
March comes in like a lion, (adit.)
• * * *
Below is a picture of Mr. Bernard Shaw.
• * * •
He is standing on the shoul-
ders of Mr. William (Bard
of Avon) Shakespeare.
• • • •
That is where Mr. Shaw
says he stands. It's his way
of describing the natural ad-
vantages which made him
able to write his first motion
picture "Pygmalion."
* • • •
Mr. Shaw confesses that his
film is wonderful and advises
that each person should see
it at least twenty times.
* k • •
We have written t1 e Shavian epitaph: Author,
Critic, and Salesman.
• • • •
The singing West, the great outdoors, the
open plain — action, action and more action . . .
• • * •
In other words, Nelson Eddy in "Let Freedom
Ring," plus Victor McLaglen, Virginia Bruce,
Lionel Barrymore and Edward Arnold.
• * * *
Let Freedom Ring! So say we all of us.
• • • •
Soon our readers may say a gay hello to ' ' Good-
Bye Mr. Chips." Robert Donat, of Citadel
fame, plays the heart-warming schoolmaster.
• • • •
"The Wizard of Oz," now in production, will
be the last word. Keep this confidential.
GIFT-OF-THE-MONTH CLUB
Did you receive the photo of Jeanette
MacDonald and Nelson Eddy? Or the one
of Mickey Rooney in "Huck Finn"? We now
present Miss Joan Crawford. Address Leo,
M-G-M Studios, Box W, Culver City, Cal.
\es. Lew Ayres' appearance in Joan's skating
picture is just a gay interlude. He returns to the
bedside manner in "Dr. Kildare's Mistake".
• * • •
Johnny Weissmuller will soon appear in the
newest "Tarzan" film.
„ * * * •
Uo-ee-oo-ee!
—£e*
PHOTOPLAY
K
MOTION
ERNEST V. HEYN
EXECUTIVE EDITOR
HEYWORTH CAMPBELL
ART EDITOR
RUTH WATERBURY
EDITOR
On ihe Cover — Norma Shearer, Natural Color Photograph by Paul Hesse
HIGHLIGHTS
OF THIS ISSUE
Vienna Farewell Heinz Liepmann 17
Dramatic glimpse into the past of Hedy Lamarr
Reborn! How George Brent Brought New Faith to Bette Davis
Adele Whitely Fletcher 18
Compelling story of a .tinning battle against heartache and failure
Play Truth and Consequences with Alice Faye . . . Katharine Hartley 20
This amusing interview makes a delectable blonde its victim
Let's Hunt for Treasure Em>l Flynn 22
Come share adventures, gay and exciting, with this thrill-seeker
Glamour Girl Number 17,268 Glamour Girl 17,268 24
What is it really like to be on the production line to stardom?
The Gay Romance of Cary Grant Ruth Waterbury 26
He's a madcap, in love with Phyllis Brooks — and vice versa
Second Chance Nina Wilcox Putnam 28
The story of Marie La Tour and her comeback
They're Talking About — Marian Rhea 30
Six up-and-coming players prove themselves newsworthy
"I'll Tell You About My Marriage" . . . . . . . Sara Hamilton 32
Nelson Eddy's own story — why he waited five years
Spring Fashions from Hollywood Gwenn Walters 57
Exclusive forecast of what the American girlwillwear
Melvyn of the Movies Howard Sharpe 67
The vivid life of a rebel — Melvyn Douglas
The Camera Speaks: —
Plenty of Umph! 34
A stepped-up, swing version of glamour
"So You Want to Be a Star!" 36
Stunts make for stardom, as witness Norma Shearer" s
Photoplay Discovers Another New Photographer — Director Lew Landers 40
A third exposure in this "exceptional photographers" series
We Love 'em Natural 42
Candid or coy — how do you prefer them?
Happy Birthday to You .46
A toast to Charlie Chaplin on his fiftieth birthday
Boos and Bouquets 4
Brief Reviews of Current Pictures 6
Close Ups and Long Shots Ruth Waterbury 8
PHOTOPLAY'S Own Beauty Shop Carolyn Van Wyck 12
Cal York's Gossip of Hollywood 49
The Shadow Stage 52
We Cover the Studios Jack Wade 54
Fashion Letter 76
Movies in Your Home Jaek Sher 85
How Well Do You Know Your Hollywood? 92
Complete Casts of Pictures Reviewed in This Issue 97
VOL Llll., No. 4, APRIL, 1939
Published Monthly by Macfadden Publications, Inc., 333 N. Michigan Ave., Chicago, 111. • Beraarr Macfadden, President • Irene T. Kennedy,
Treasurer • Wesley F. Pape, Secretary • General Offices, 205 East 42nd St., New York, N. Y. • Editorial and Advertising Otf-ces, Chanin
Building, 122 East 42nd St., New York, N. Y., Curtis Harrison, Advertising Manager • Charles H. Shaltuck, Manager, Chicago Office • London A -
Macfadden Magazines, Ltd., 30 Bouverie St., London, E. C. 4 • Trade Distributors Atlas Publishing Company, 18 Bride Lane, London, E. C. 4 • Yearly
Subscription: $2.50 in the United Slates, $3.00 in U. S. Possessions and Territories, also Cuba, Mexico, Haiti, Dominican Republic, Spain and Pos-
sessions, and Central and South American countries excepting British Honduras, British, Dutch and French Guiana. $2.50 in Canada an-! Newfound-
land. All other countries $5.00. Remittances should be made by check, or postal or express money order * CAUTION^Do not subscribe through
persons unknown to you • While manuscripts, photographs and drawings are submitted al the owners' risk, every effort will be made by this organ-
ization to return those found unavailable if accompanied by sufficient 1st class postage, and explicit name and address. But we will not be responsible
for any losses of such matter. Entered as second-class matter April 24, 1912, at the post office at Chicago, HI., under the act of March 3, 1879.
Copyright, 1539, by Macfsdden Publications, Inc. Regisrro Nacional de la Propiedad InielecruaL
NEWS
VIEWS AND
REVIEWS
BOOS
A N D
TOUJOURS L'AMOUR!
THE intellectual press is hailing "Dawn
Patrol" as a fine achievement because it is
an indirect sermon against War. I agree.
The Press also praises Warner Bros, for cour-
age in producing a picture of men without
women. They point to the box-office success of
"Dawn Patrol" as an indication that the public
is tired of "boy meets girl" pictures and will
welcome more pictures of social significance, un-
complicated by "unimportant love stories."
Almost a thousand years ago lived a great
thinker who wrote many works on logic and
theology. He it was who, in an age of blind
fanaticism, first preached that no belief should
be compulsory unless it was first understood,
heard of him? Yes, you did. For his
name was Abelard, but the judgment of the
centuries awards him an Oscar only for his love
letters to H«l' <rmons on social signif-
icance are forgotten.
The Garden of Eden proved rather dull until
God had Adam meet Eve. If Eden couldn't be
run long without women, do you think Holly-
wood can? An occasional "Dawn Patrol" is
okay. But don't make a habit of it. Love is im-
portant.
Quentin Putnam,
Brentwood, Maryland.
THANKS FOR A GOOD READER
r ART of the function of a good editor is to
provide a shoulder for the sobs of the world, so
I know you are used to "taking it." Why, oh
why, the "Unmarried" article? It was good
reading surely — but what Hollywood under-
stands and condones does not set the standards
for the rest of the world.
And why not some good publicity on this John
Payne boy — he can put a song over better than
anyone in pictures (except Bing, of course) and
we'd like to see him often.
I love Jeanette MacDonald's singing, but isn't
it odd that the only song in "Sweethearts" which
got enthusiastic applause, when I saw it, was the
"Parade" recording song which Nelson Eddy
did. I'll bet that burns up the MacDonald fans
who seem to wage eternal warfare for some un-
known reason with the Eddy fans. "Sweet-
hearts" should satisfy both sides.
Thanks for a good magazine.
Dorothy Mason,
Los Angeles, Calif.
This seems to be Mr. Eddy's year! For il-
luminating copy on John Payne that you asked
jor — see Page 31.
SEE AMERICA FIRST
I HE other day Edwin C. Hill in his syndicated
column, "The Human Side of the News," quoted
a French explorer and anthropologist who was
visiting New York and who had lived most of
his life in jungle deeps as follows:
"I should like to see an equally revealing
pictorial study of your quaint and indigenous
tribal life." The explorer had just viewed
"Dark Rapture" and had then turned his atten-
tion to American ways.
As I read this story by Mr. Hill, I recalled the
film. "The Shining Hour," which had, for the
most part, a Wisconsin locale. But such fleeting
glimpses of Wisconsin scenery as the picture
Cary Grant, star of Colum-
bia's "Plane No. 4," makes a
voice test of his famous visi-
tor, Alfred G. Vanderbilt.
Better beware, Mr. V. — this
"mike" business gets you,
as witness Richard Barthel-
mess (top), who comes out
of a very comfortable re-
tirement to stage a come-
back in this same picture
revealed could never be found in Wisconsin.
The view of the inland lake, yes: but never the
California mountains in the background.
So, to the question: Why not more American
pictures really set in genuine American scenes?
Films, many of them made in England, Ireland,
Russia, Germany, often take pains to make
capital of their settings, "in the Bavarian Alps,"
etc.
I realize, of course, that you can't go hauling
a "Gunga Din" all over the face of the U. S.
And that in many portions of the U. S. location
work, except for winter scenes, could be done
only two or three months of the year. But that
could be time enough. And perhaps if you give
a director a paltry few hundred thousand dollars
instead of a million, he could do very well in
an Iowa cornfield.
I think America would enjoy seeing itself
really, not just simulated — and with those ever
present California mountains in the background.
And it isn't wholly incidental that it would be
good for us to look at ourselves, good for Cali-
fornia to see a few pictures of Indiana and
Louisiana, good for New York to look at Wis-
consin and Florida. It might help us to cling
a little harder to our faith in the U. S. A. and
knowing it better, love it more.
Here are a few places that would make mighty
interesting locations:
Both the upper and lower valleys of the Mis-
sissippi.
The Great Lakes (You just can't make the
Pacific look like Lake Michigan or Superior.)
Brown County in southern Indiana.
The Gulf of Mexico.
The Kentucky mountains.
The Ohio valley.
Michigan and Minnesota.
I suggest further the actual use of American
cities, not Hollywood's idea of "typical cities" —
With all their particular peculiarities: Minne-
apolis, Memphis, Charleston, Milwaukee and
Cincinnati.
(Continued on page 10)
PHOTOPLAY
GREAT CLASSIC COMES TO LIFE
IN GLORIOUS TECHNICOLOR!
HIRIEY
EMPLE
in
fHE
ILlTTLE MNCESS
^PRIL, I 939
A bit of perfect casting — four titters, Polly Ann Young, Sally
Blanc, fourteen- year-old Georgianna and Loretta Young, will be
movie titters in 20th Century-Fox's "Alexander Graham Bell"
*a#
Consult This Movie Shopping Guide and
Save Your Time, Money and Disposition
PICTURES REVIEWED IN
I
SHADOW STAGE
THIS ISSUE
Paot
AMBUSH— Paramount 94
BEAUTY FOR THE ASKING-RKORadio 94
BOY SLAVLS-RKO Radio S3
BOY TROUBLE-Parsmounf 94
CAFE SOCIETY-Paramount 52
CODE OF THE STREETS-Univerul 94
FISHERMAN'S WHARF-Principal RKO-Radlo 94
FOUR GIRLS IN WHITE-M-G-M S3
GUNGA OIN-RKO Radio 93
HONOLULU— M-G-M 93
IDIOT S DELIGHT-MG-M 93
KING OF THE TURF-Small Un.ted Artist? 53
LET FREEDOM RING-M-G-M S3
LONE WOLF SPY HUNT, THE-Columb.a 94
MADE FOR EACH OTHER-SelinickU. A. S3
MIKADO, THE-Toyt-Unlversal 93
NANCY DREW-REPORTER-Warner$ 94
ONE THIRD OF A NATION-OHob Paramount 93
PERSONS IN HIDING-Paramount 94
PRIDE OF THE NAVY-Rtpublie 94
SON OF FRANKENSTEIN-Unlvartal 94
STAGECOACH-Wanoar-Unittd Artists 52
ST. LOUIS BLUES-Paramount 93
TAIL SPIN— 20th Cantury-Foi 52
THREE MUSKETEERS, THE — 20th Century-
Fei 78
WOMAN DOCTOR— Republic 94
YES. MY DARLING DAUGHTER— Warnars 52
YOU CAN'T GET AWAY WITH MURDER-
Warnars 52
• ANGELS WITH DIRTY FACES-Warners
:nificcnt
■
Pal O'Brien)— an
(Tin- "Dead-
.tcd. ^Jan.)
• ARTISTS AND MODELS ABROAD-Paramount
I "f gags,
I
Ucnnelt, M..t> Bobmd and the Yacht Club
Ian.)
ir BEACHCOMBER, THE-Mayflower-Paramount
Somei of an English wastrel
Charles
Laughl
• BLACKWELL'S ISLAND-Warneri
remember the rrcrllrnt work done by John Garfield in
hard-hitting reporter who
exposes venal prison cond;' ic policeman's
"V
'
K*V
• INDICATES PICTURE WAS ONE OF THE BEST UF THE MONTH WHEN REVIEWED
-i-ter who loves him. Victor Jory, Stanley Fields and Dick Purcell
are in the cast. Packs plenty of punch. (.Feb.)
BLONDIE-Columbia
Beginning a series based on the comic strip followed by millions,
uld be mildly important. Penny Singleton is Blondie;
Arthur Lake, the frustrated, misunderstood husband. Dogwood:
I arry Simms is Baby Dumpling: Gene Lockhart, Dogwood's boss.
Be sure to take the kids — you'll all laugh. (Jan.)
• BROTHER RAT-Warners
Made with fervor and frankness, this tale of three cadets at
Virginia Military Academy departs from the usual style of campus
drama. Wayne Morris, Eddie Albert and Ronald Reagan have
three ideas — wimmen (Priscilla Lane, Jane Wyman and Jane
Bryan) graduating, and winning the ball game. Everything is
jake at the end. A honey. (Jon.)
BURN 'EM UP O'CONNOR-M-G-M
First of another new series, this has Dennis O'Keefe as the
country boy who likes to race Cars, and uses the midget-motor
racing field as locale. Cecilia Parker is the car manufacturers
daughter. Love shin .nrlict with a crooked race track
doctor, and Life goes on. {March)
CHARLIE CHAN IN HONOLULU-ZOth Century-Fox
The witty Oriental detective'^ newest adventures deserve
special mention as there Is a new Chat Iney Toler. He
A copy the late Warner < Hand, but the result is startlingly
Eood. There are some pretty tough passengers <»n his Honolulu
boat, so you'd better bring your smelling Baits. {March)
CHRISTMAS CAROL, A-M-G-M
Beautifully produced in the sentimental spirit in which it was
by Dickens. Reginald Owen plays Scrooge, the tn
thinks Xmas is a humbug until three ghosts come to show him his
mistake. Terry Kilburn is delightful as Tiny Tim. the cripple,
and the Lockharts (Gene and Kathleen) are Mr. and Mrs. Cralchit.
(March)
• CITADEL, THE-M-G-M
Made by the M-G-M unit in England, A. J. Cronin's touching
novel emerges as a powerful study of an idealistic young doctor
who stews in poverty until an easy way out presents itself,
ted by his best friend and his loyal wife. The sure Unease
rt Donat, Rosalind Russell and Ralph Richardson makes
it doubly important for you to see this. (Jan.)
• COWBOY AND THE LADY, THE-Goldwyn-United Artists
Rich girl, poor boy again, but as gay as your new hat and done
in the usual Sam Coldwyn Btyle — which glitters. Merle
is a kind of cultured British Carole Lombard. Gary Cooper is in his
element as the shy cowhand who marries her. Patsy Kelly is there
for laughs and it all amounts to a charming interlude in your
: ly life. (Feb.)
• DAWN PATROL, THE-Warners
A trring drama of war in the air without a female in sight, this
i-< continuously thrilling, stunningly photographed and logical. \i
tragic. Err.. I Flynn. David Nlven, Basil Ralhbonc. Donald l'ri~|>
and a host of others build up a gallant picture of friendship and
heroism that will leave you thoughful — and thankful that v.
remade this picture. (Feb.)
ic DRAMATIC SCHOOL-M-G-M
i i those who love the theater, thr ome and well-
done piece of education, Luiae Rainef and Paulette Goddard are
the budding Bernhai iondergaard, Alan Marshal. Lana
Turner. I i.t'in and ..Hut trouper- lend able support.
Laughter and perhaps I teal and watch Goddard! (Feb.)
DUKE OF WEST POINT, THE-Small-United Artists
I ward, fresh out of Cam-
bi Si ■ physique and all. There is the usual
thcr. the big game, and The Girl (Joan
Fontaine), it ! work. (Feb.)
EVERYBODY'S BABY-20th Century-Fox
The Jonci menage has a new member In this rollicking episode,
A quack doctor proceeds to bring up the baby scientifically and
the net results of this hygiene are that the new grandchild succeeds '
in getting the family in a heck of a mess. The cast is the same as
usual and good, loo. (Feb.)
FIVE OF A KIND— 20th Century-Fox
One cannot help feeling that Mr. Zanuck is resting on Papa
Dionne's laurels. The live little Quints toddle about, squeal and
sing cunningly; the story about a faked birth of sextuplets is stupid.
Claire Trevor, Cesar Romero and Jean Hersholt make up the cast.
(Jan.)
• FLIRTING WITH FATE-M-G-M
Here Joe E. Brown is the leader of a troupe of actors who
tangle with Leo Carrillo's South American banditti on a trailer trip
t i New York. Leo has his eyes on Steffi Duna, a dancer. Joe's
attempts at suicide (to get insurance) will have you in a gale of
laughter. (Feb.)
GIRL DOWNSTAIRS, THE-M-G-M
The acting is what counts in this, people, not the story. That's
about a man (Franchot Tone) who dates a little Swiss scullery
maid (Franciska Gaal) in order to see the rich beauty Franciska
n rk~ for. What a Gaal comes through with dying colors, as cute
as a kitten. (March)
GOING PLACES-Warners
Dick Powell is cast as the innocuous young hern who sings,
watches the races and falls in love with Anita Louise. Maxine
Sullivan gives out with her jazz chamber music and is a dish, from
.,nv standpoint. Never mind the story, just go to hear her — and
Louis Armstrong's trumpet. (March)
■k GRAND ILLUSION— World Pictures
Set in the grim background of German prison camps, this
French film (with English subtitles) builds a tragically honest
picture of the human side of war. Jean Gabin, Pierre Fresnay and
Eric Von Stroheim are only a few of the superb character delinea-
tions. Fascinating. (Jan.)
ir GREAT MAN VOTES, THE-RKO-Radio
A political satire on the prohibition and "boss" era, this has an
original story, understanding direction and the superb portrayal
of John Barry-more who outacts even himself. Playing a widowed
historian addicted to the bottle, he rehabilitates himself with the
help of Virginia Weidler and little Peter Uolden (in "On Borrowed
Time"). You could ask little more of a picture. (March)
• GREAT WALTZ, THE-M-G-M
To the thrilling strains of Johann Strauss' best loved waltzes, the
colorful story of the nr<- it Viennese composer's life is transferred to
the screen with Fernand Gravet as Strauss, Luis* Rainer as I
sacrificing wife, M.li/.i Korjus, recent foreign import, sings like
the proverbial lark. Outstanding photography and direction. (Jan.)
HARD TO GET-Warners
No problem play this, but fair amusement provided by a new
dneromantic team, Dick Powell and Olivia de Havilland. Olivia
i* a madi i.ition attendant. Plenty going on
of the wacky variety and Dick scarcely sings a note — which is
Jan.)
it HEART OF THE NORTH-Warners
■i the greatest chase melodrama of them all,
put it into Technicolor and the result is surprising and exciting.
It begins with bandits, stealing trappers, gold, killing a policeman.
led Dick Foran then starts in pursuit and boy, does this
eet his manl Gale Page and Gloria Dickson both work
their wile? on Foran. Great fun. (Feb.)
INSIDE STORY-20th Century-Fox
ond in the "roving reporter" series finds Michael Whalen
again the intrepid newsman involved in a night-club murder
when the villain steals the witness, Jean Rogers. Oh, well, it all
.ill. A weak sister. (Jan.)
ir JESSE JAMES-20th Century-Fox
The story of the famous Ozark outlaw embellished with all the
romantic trappings (including Technicolor) at Darryl Zanuck's
command. Tyrone Power as the bad man, Nancy Kelly as his
(Continued on page 96)
PHOTOPLAY
»G#*
n^s
^
j£0»
<«*»9 *^* «*i*1
wess^eS
a tote
esses-
\oo&s w
even v*l_ l0 Bette
the
that
^\ovJ
Davts
a^
4*
^ol
vj\\o
laces
a^
al^ta^
; ^ can
aW ^al
\>ittet
late
AA tVve
offet^aU . and ?aitv
A
co\ots^°
a
dat^ «°
sVveVvas
g\0T
\ieve
r,evtet«t'
BETTE DAVIS in
"DARK VICTORY"
GEO. BRENT • HUMPHREY BOGART
Geraldine Fitzgerald • Ronald Reagan
Henry Travers • Cora Witherspoon
Directed by EDMUND GOULDING
Screen Play by Casey Robinson- From the Play by
George Emerson Brewer, Jr. and Bertram Bloch
Music by Max Steiner • A First National Picture
Presented by WARNER BROS.
CLOSE UPS
AND
!»LONG SHOTS
BY RUTH WATERBURY
THE night after the first poster that read
"Norma Shearer-Tyrone Power in Marie
Antoinette" was posted up, across the road
from the Metro-Goldwyn-Mayer studio in Cul-
ver City, a car drew up alongside it and stopped.
Seated in that long, dark open car was a
handsome boy who looked up at that poster and
cried with joy and excitement. . . .
The boy was Ty Power. . . .
It is characteristic of Tyrone that he wasn't
ashamed to tell me that story about himself,
nor in the least ashamed of having given way
to those tears . . . for this youngster, who has
just been chosen the 1939 King of the Movies
by the readers of twenty-two of this country's
leading newspapers, loves his work and isn't
afraid of emotion . . . and I, for one, think those
two qualities getting together had a lot to do
with his election to this honor . . . those two
things plus a couple of others. . . .
What's put Tyrone Power and
Jeanette MacDonald at the
top of the heap? Hard work?
Talent? Good looks? It took
more than that to win Mr.
k and Mrs. Public's vote for
M. the King and Queen of 1939
Another of those factors is his instinctive
modesty ... he says now about being the new
"king" ... "I hope my future pictures will
justify this confidence" ... no big "I" stuff, you
notice ... no promises about what "I" shall do
. . . but just the quiet sensible attitude of merg-
ing himself into his productions . . . which, of
course, is merely intelligence on Ty's part, for
productions have had much to do with his pres-
ent popularity, though they are not entirely
responsible for it by any means. . . .
lAKE Clark Gable who ran second to Ty in
this voting and who won out last year ... in
1938 Gable had one fine picture, "Test Pilot,"
and one so-so picture, "Too Hot to Handle,"
but both of them added together did not equal in
sheer production value any one of the pictures
that Mr. Power has been in . . . Ty certainly
didn't look much like an eighteenth-century
Swedish count in "Marie Antoinette" nor a
nineteenth-century canal builder in "Suez" . . .
he certainly was made to appear silly in "Alex-
ander's Ragtime Band" where he lived through
some thirty years and didn't age by so much as
one wrinkle ... it is very much to his credit that
he played these diverse and miscast roles so
convincingly that it was only after leaving the
theatre that you were able to pick any flaws in
them ....
But even allowing for Tyrone's charm and his
acting ability, the fact yet remains that Darryl
Zanuck put such elements into those pictures
(excepting, of course, "Antoinette" which was
an M-G-M production) that even if they were
goofy on facts of time and history they were
distinctly swell on the entertainment side. . . .
Gable was up against a stiffer problem to
maintain his popularity than Tyrone Power
was . . . boiled down into essentials "Test
Pilot" wasn't so much of a story and "Too Hot
to Handle" was plain goofy and it was the Gable
personality (combined with Myrna Loy's, which
is no slouch, either) that actually put both pic-
tures across ... in other words, his studio
didn't back him up as well as Twentieth Cen-
tury backed Power. . . .
Yet it is characteristic of that Gable guy, too,
that he said of Power's winning . . . "It couldn't
have happened to a nicer kid". . . which is abso-
lutely true ... it couldn't have happened to a
nicer kid unless it happened to Gable himself
. . . who, I bet, wasn't called a kid even at the
age of ten . . . being always too loaded with that
adult male ummph. . . .
HOW Jeanette MacDonald's winning out as
"Queen" is even more of a pure triumph of
personality than Power's . . . for this glamorous
redhead has been associated in the public mind
with Nelson Eddy ... as half of a team, that is
. . . when Fred Astaire and Ginger Rogers used
to lead in box-office polls they won as a com-
bine and never separately . . . but Nelson Eddy,
despite the fanatic loyalty of his personal fans,
has never showed in the important voting . . .
yet here is Jeanette, his co-star, triumphing
alone and over every other girl in the movie
business . . . and if you don't think I'll be able
to find a moral in all that you just don't realize
what an old moral hunter I am by nature. . . .
Seriously, though, I think it does prove that
a right attitude toward one's public reflects
itself from the screen . . . that plus, as in Ty's
case, the terrific factors of ability, personality,
charm and temperament . . . for Nelson Eddy,
Astaire and Rogers, in fact every star in pic-
tures has those latter assets, too . . . but few,
indeed, possess such a wish to always do the
right tiling that will endear themselves to the
public that Jeanette has . . . Joan Crawford is
(Continued on page 14)
PHOTOPLAY
,Y
heartbreak..!
he heartbreak of two young
people in love ... facing the world
with song in their hearts. Laugh-
ter.. . melodrama . . . and Carole
Lombard in a brilliant transition
from comedienne to dramatic star!
Carole James
LOMBARD STEWART
Made for
Each Other
Produced by DAVID O. SELZNICK
Directed by John Cromwell • Screen play by Jo Swerling
Presented by Selznick International
Released thru United Artists
APRIL, 1939
II
M®TOP[LAY§
cA%piyfJ Vaa/ wyck
PROP.
Two wise misses, Rita Hayworth (left)
and Arleen Whelan (above), take ad-
vantage of what modern science can
do to keep them brimming over with
vitality — concentrated vitamins
MODERN WAY TO BEAUTY— Rita Hay-
worth finished a difficult scene with
Cary Grant for "Plane No. 4" and
walked off the set. I had watched her rehearse
the scene several times before this last take, and
the terrific amount of energy it required to do
the same thing over and over until it was done
perfectly had practically exhausted me, even
though I had nothing to do with it.
But Rita wasn't exhausted. She didn't even
look tired. As a matter of fact, she looked more
glowing and lovely than I had ever seen her.
"Nice going," I said. "I needn't ask how you
are. You look wonderful."
"Oh, I feel marvelous," she laughed, "even
though I'm working so hard. You know, this is
really my big chance. It's the best part I've
had, playing second lead to Jean Arthur, and
I've just got to feel well and look well."
"How do you do it?" I asked. I felt positively
haggard in contrast.
"It's simple," she said, "and you can see what
it's done for me. I don't let myself get run down
or tired. You know the importance of vitamins
to health and beauty. I just supplement my
regular diet by taking vitamins in concentrated
form. They do wonders for you."
HEALTH and beauty are even more important
to screen stars than to us. The cameras magnify
every blemish, even the faintest sign of ill health
or exhaustion, and the strain of spending emo-
tions under hot lights too often leaves its mark
upon a star's face unless her health is superb.
It's a wise girl who realizes that the basis of
beauty is health; that bright eyes, shining hair
and clear skin come from within.
Modern living demands so much from girls
today, not only in the picture business, but in
every walk of life. We rush around madly under
tension all the time, yet we expect to look as
rested and relaxed as though we did absolutely
nothing all day long. But we don't stop to think
that our hair and skin and eyes, even our capac-
ity for having fun and enjoying life are all de-
pendent upon those little things that we can't
see — vitamins.
We find them in everything we eat, of course,
but even a carefully selected diet, with plenty
of fresh vegetables and fruits, can be low in
This Oberon lass is a daughter of
the sun, for she knows that's one
of the best ways to get vitamin D.
Merle makes certain that her daily
diet contains all the other vitamins
necessary to keep her healthy
vitamins, which are vital food substances needed
to maintain good health, the basis of beauty.
Modern refining of foods often destroys the
vitamins, so that we see the result in our loss
of vitality, our lowered resistance to colds, our
wonder as to what can be happening to our
looks and our definite suspicion that we're los-
ing them.
When that happens to us, something has got
to be done, and vitamins in concentrated form
are the answer. They give us back our zest
for living, our vitality; they restore lost color
to our skins, luster to our hair, brightness to our
eyes. They're modern science's answer to a
woman's prayer.
I HE life of a Hollywood star seems to consist
of glamour and ease and ordered living to the
rest of us who are harassed by the details of
everyday life. But we forget the strain under
which stars work on a picture, the concentra-
tion they must give to every scene, the tiresome
rehearsals, the consistent striving toward acting
perfection.
It's no fun to get up at five o'clock in the
morning, dash to the studio to be made up and
gotten ready for the set, to work all day before
going home again to drop wearily into bed, and
start it all over again the next day. They must
combat this strain and its effect upon their
nerves and health and beauty.
Arleen Whelan, who's one of the town's most
active and popular girls — she's always doing
something, dancing or playing tennis or riding —
takes advantage of what modern science can
do for her. She knows that she must have suffi-
cient vitamins in her daily routine to keep her-
self looking lovely and to give her vitality to
carry on her picture career as well as her social
life. Since her health is superb, she's able to
relax after a hard day at the studio and enjoy
herself in the evening.
Business girls often don't get enough fun out
of life. Not because they're in business, but be-
cause they work so hard and are so intent upon
getting ahead in their jobs that they're worn out
at the end of the day. They're too likely to grab
a quick sandwich for lunch when they've had
nothing but a cup of coffee for breakfast, and
work all through the day with no other nour-
ishment. They can't get sufficient vitamins, the
essential food substances, that way. They've
thrown all their energies into their office work,
so no wonder they lack the vitality after they've
finished the day to drag themselves out to a
show or to a party.
That's very bad, because it's too easy to lose
(Continued on page 87 )
PHOTOPLAY
Life begins
with
VITAMINS
PLUS . . .
Wonders can happen - to you. Wonders of feeling well, looking well - of
being awfully glad you're alive. Vitamins can be the secret. Which
vitamins? All those vitamins that you may need.
Vitamins Plus once a day is the vitamin routine complete. In two tiny,
easy-to-take capsules it supplies vitamin groups A, B, C, D, E, G and, for
plus effectiveness, it also contains liver concentrate and iron.
Combat the strain of everyday modern living - be a very charming person
to know. Vitamins Plus - a 24 days' supply - 2.75. (Same Price in Canada.)
HOW TO GET
VITAMINS Plus
VITAMINS Plus is on sale at leading de-
partment and drug stores. If you do not at
once find VITAMINS Plus in your city mail
coupon at right!
Copyright February 1939 Vitamins Plus. Inc.. K. Y.
VITAMINS PLUS, INC., 370 LEXINGTON AVE., N. Y. C.
C Herewith is $2.75 for a 24 days' sup- I Please send me your booklet,
ply of Vitamins Plus "What can I expect from vitamins ?"
] Send my Vitamins Plus C. O. D.
I^a^e
Street
State.
IN CANADA: J.'.Ti— Ml<JU.L1 VKa Y BKOS.. Ltd.. TuHuNTO
APRIL, 1939
13
Close Ups and Long Shots
are the flat, thin-as-a-dime
supporters that have made
unsightly garter bumps a
thing of the past... that are
infinitely more comfortable...
that anchor your foundation
neatly and firmly ... that put
an end to costly garter runs
Inviz-a-grips are so prac-
tical they had to become uni-
versal! Now you'll find them
on all types of foundations at
every price. Insist on (c
Inviz-a-grips — the
practical, flat garters!
iwiz -A-tiitir
704S
St., H*llrwMd>4J2 4th »vt ., N.w York City
This Spring choose the foundation
garment that is equipped with
Inviz-a-grips. It's a smarter buy1.
another example of this, which is why
i in the big brackets as
I believe, . . .
tette starts off by working like
tin- grubbiest wage slave you ever knew
. . . there ifl Dever a tunc that she isn't
in MOM phase of production on her pic-
muaicala being so much harder
to prepare and finish than dramatic
productions . . . there are always scores
to be learned, dances to be mastered,
to be fitted . . . there are pre-
lings of songs . . . there are those
bin crowd scenes, inevitable to musical
pictures, to be shot and they usually
take several days to get on the screen
. . . dramatic pictures today average
two to four weeks in production . . .
the MacDonald-Eddy musicals average
about five months each . . . but despite
these time demands . . . despite her
running her home perfectly and keep-
ing her husband content . . . Jeanette
takes time for that daily singing lesson
. . . for posing for any and all pictures
that are requested of her . . . for giving
out interviews whenever they are asked
for . . . for always being gracious to the
public. . . .
In contrast, Nelson Eddy doesn't like
to give interviews or pose for pictures
. . . neither does Rogers or Astaire . . .
and neither does Myrna Loy, who was
queen last year ... it isn't that Myrna,
for example, isn't a darling when you
get to her . . . but try and get to her
... it once took
this magazine two
solid years to get
a cover photo-
graph made of
her. . . .
I DON'T mean to
say that being
nice about inter-
views and photo-
graphs is what
makes a star . . .
if that alone did
it Toby Wing or
Betty Grable or
any one of fifty
cute kids would
be the biggest
personalities in
Hollywood . . .
you've got to have
great talent along
with this . . . but
I do believe they
are most impor-
tant for major
stars ... if you
don't hear about
stars and see pro-
vocative pictures
of them between
productions, al-
m o s t automati-
cally you 1 o s e a
little of your fa-
ll in them, and
the longer the
blank silence con-
tinues, the more
apathetic you be-
come . . . but the
most important
thing about this
co-operation in
giving out infor-
mation on them-
selves to their
public, or the lack
of it. is the atti-
tude it reflects
(Continued /rom page 8)
. . . the world still responds to generos-
ity .. . and, after all, it is no more than
courtesy to try to do all one can to make
the people who support you happy. . . .
There's where Gable wins and big
... he is the most generous guy with
his time . . . there's where Ty Power is
just like him . . . and there's where the
MacDonald comes in . . . the screen re-
flects this warmth, this intelligent kind-
liness in all three of them, and we all
of us respond to it . . . and award them
their crowns as a result of it. . . .
T
HERE'S a terrific storm going on
about Vivien Leigh's being cast as
Scarlett O'Hara in "Gone with the
Wind" . . . Photoplay's office is flooded
with letters, mostly against it . . . but
I, for one, am willing to go on record as
being very satisfied with the thought of
this little British girl in the role . . .
I've seen her in many British produc-
tions . . . playing everything from very
sappy ingenues to that mean little minx
in "The Yank at Oxford" . . . and in
every one of them she has given distin-
guished performances ... I see no rea-
son why it will be any harder for an
English girl to master our Southern ac-
cent than it would be for one of our
Middle Western girls, let's say . . . and
it seems to me just silly to insist that
this heroine should be played by a girl
of pure American birth . . . that would
have been nice indeed if Mr. Selznick
W. C. Fields — long may he wave! In Universal^ "You
Can't Cheat An Honest Man," the famed comedian dances,
something he has not done since ne was in the Ziegfeld
Follies a decade ago. It's all due to that imp, Charlie
McCarthy, as you'll find out when you see the picture
had found an American girl who could
have played Scarlett . . . but appar-
ently he didn't . . . and American
movies are bigger than any mere boun-
dary lines. . . .
Personally I think Miss Leigh has
got the temperament for Scarlett . . .
that right blend of hardness and soft-
ness that makes any star. . . .
To go back to Power-Gable-MacDon-
ald for a moment, that is what they
have, too . . . what every big star has
. . . that is. the quality that the pretty
youngsters, who do co-operate on pub-
licity and work hard but don't win, lack
. . . that is, the quality that stars are
often condemned for . . . and which
wrongly used can kill any personality
. . . but which rightly handled is the
biggest success factor in the world. . . .
Until about a week before Miss Leigh
(she pronounces her name as though it
were spelled Lee) was signed for Scar-
lett ... it looked definite that Jean
Arthur would get the part . . . there is
a girl with temperament all over the
place, but with a temperament so de-
structively used that it has practically
eaten up her career in the process . . .
as you know, Olivia de Havilland has
been signed to the role of Melanie, Scar-
lett's gentle sister-in-law . . . and there
is a darling and a beauty but a girl lack-
ing that final, electric temperament . . .
what really holds Olivia back, I think,
is her being just too much of a lady to
blow off. . . .
For underneath
everything, to be a
major star you've
got to have pas-
sion . . . passion
and wisdom . . .
Miss MacDonald
can blow up, and
often does, in a
flame that matches
that red hair of
hers . . . Gable
sulks like a bear
when he doesn't
like certain things
. . . Power glooms
and is that miser-
able . . . the en-
dearing truth
about them is that
they often lost
their hearts . . .
but they come
right back to being
themselves again
... in those flash-
ing moments that
betray their artist-
ic nerves, they still
never lose their
heads. . . .
It is my private
hunch that this is
true of Miss Leigh
also . . . I think
she will be a grand
and glorious Scar-
lett ... not that I
will really know,
however . . . I'll
be so busy watch-
ing Clark, made
up as per his
promise after our
Photoplay sketch
of him as Rhctt.
that I won't be
able to be aware
of another single
thing. . . .
14
PHOTOPLAY
JOLENE DESIGNS
AMERICAS MOST
GLAMOROUS FOOTWEAR . . .
WORN BY THE STARS AT
HOLLYWOOD S FAMOUS
RENDEZVOUS
jfm Ghove,
G^vdcAeAt
STEFFI DUNA
Charming Screen Personality
uhoes styled in Hollywood bring
the height oi lashion. lhats why-
all America applauds you, Jolene.
STEFFI DUNA
JUNE LANG
Appearing in It s Spring Again,
a Hal Roach Production
Orchids to you, Jolene, your
styles are definitely Hollywood.
JUNE LANG
JUNE TRAVIS
Beautiful Hollywood Star
It s a tour-star idea, Jolene,
giving your shoes the glamour
ol .Hollywood.
JUNE TRAVIS
Here is breath-taking beauty that
knows no equal! .thrilling movie-
star styles authentically reproduced
lor you by Jolene, lamous .Holly-
wood stylist. Insist on Jolene oboes
lor your opring wardrobe . . . they
look so expensive, yet cost so little.
for the name of your nearest Jolene Dealer,
write Jolene s Hollywood Otudio 102, 6715
Hollywood Blvd., Hollywood, Con/.
JOLENE SHOES ARE DISTRIBUTED BY TOBER-SAIFER SHOE CO., ST. LOUIS, MO
APRIL, 1939
\
flti
S5*
^
&
%
^w
/
Notice those smart, young women, whose careers depend on glamour; silver fos
gleams on their suits and coats, by day. . . in soft, little jackets over their evening frocks, by
night. "JC Select FEDERAL Silver Fox for your glamour fur. The skins are luxuriously larg<
and supple, brilliantly silvered, and lasting in loveliness, -if Look for the FEDERAL trade
mark, stamped on the leather side. Good stores everywhere, feature FEDERAL Silver Fox. -yC
FEDERAL SILVER FOXE S .»«.».«. w,sco»s.,
16
PHOTOPLAv
A PHOTOPLAY BREVITY
A dramatic episode in the life of
Hedy Lamarr, revealed for the first
time by a writer new to America
i&ima
BY HEINZ LIEPMANN
\
VIENNA, night of November 22, 1934. . . .
Vienna — the gayest capital of Europe;
the town known the world over for its
waltz music, pretty girls and easy life; Vienna,
now dark and deserted. On the Kaertner
Strasse and around the Stefansdome, where, in
former days, music, light and laughter ruled,
there is now silence and darkness. The only
steps one can hear are those of the patrolling
guards of the Heimwehr, the Storm Troopers
of Austria.
Vienna is dying. Only nine months have
passed since Dollfuss' cannons and machine
guns smashed houses and streets in Vienna and
slaughtered the last Austrian Liberals. But be-
hind the five-foot Chancellor Dollfuss, who now
governs the unfortunate country with terror
and tears, stands another man, six feet, five
inches tall, a member of the oldest and proudest
nobility of Europe, fabulously wealthy — Vice-
Chancellor Riidiger Prince von Starhemberg,
Master of the Heimwehr and therefore Master
of Austria. And whereas the streets of gay
Vienna lie dark and deserted, and the easy-
going Viennese sit in their houses, silent, poor
and hungry, the palais of Prince von Starhem-
berg shines, full of light, gaiety, music and
(Continued on page 83)
ILLUSTRATED BY V1NCENTINI
HOW GEORGE BRENT BROUGH
Enthusiasm crackles from Bette, but this time it was different
The touching story of a valiant woman who battled
heartache and failure to come through — a champion
BY ADELE WHITELY FLETCHER
IF the camera and the microphone should
be turned on the Uvea which the players live
on the side lines while B picture is being
made, oftentimes an even greater story would
be fill
Take the Warner picture. "Dark Victors-."
hauntingly beautiful love story. But the
emotion felt on tin- tide lines while this picture
:i production frequently was equal to the
emotion that was distilled on the set. During
the making of this picture George Brent, who
had worked ii of pictures he had not
cared for, became hopeful and enthusiastic
while Bette Davia, eparated from Har-
mon Nelson preparatory to ■ divorce, met up
with ■ she Was unable to take in
her customary gallant, fighting stride.
The "Dark Victory" company sat on the side
lines of a set that represented a doctor's office.
Here the first scenes of the picture would take
place. Edmund Goulding, the director, de-
scribed the mood he wanted the picture to have.
"Actually, you see," Goulding was saying,
"death, in this story, becomes the most beautiful
and constructive thing of all. It is as she faces
death that Judith learns how to live. And it is
from watching Judith that a lot of other people
learn this, too."
George Brent turned to Bette Davis. "I be-
lieve in this one," he told her.
"Yes, I think it's marvelous."
Enthusiasm usually crackles from Bette, like
current from an electric wire. Now it came,
forced. Nevertheless, it was better than her
silence. George relaxed. So did Goulding and
Humphrey Bogart and Geraldine Fitzgerald.
If Bette would only start fighting they knew
everything would be all right. It was her com-
iiude that had frightened them.
Goulding pushed back his chair. The pre-
liminary rehearsal was over.
"Bette," he said, "you won't have to be
around for a day or two. We'll let you
know. . . ."
Bette turned to George. "I wanted to see you
at the starting post of this one, Brentie. I did,
really. Frederick Steele, M.D. is going to do
great things for you or I miss my guess!"
Yet, even while she talked, her words coming
too clipped and fast, Bette was wondering if she
would be making this picture with George or if
the crack-up which threatened would catch up
with her before they called her back.
The next morning George and Actor Henry
Travers were on the set early. George, as
Frederick Steele, sat on the desk in his office
and explained why he was going to quit his
practice and go in for research.
"We try to cure with the knife," he was say-
ing, "when we don't even know the cause. Peo-
ple put their faith in us because we're doctors
and. . . ."
There was a signal from the control room.
The microphone had picked up some outside
sound. And it was then, before they could get
started again, that the flowers came. They stood
four feet high and they were almost that long.
They festooned the basket handle and they
spilled over the sides. The delivery boys stag-
gered under their fragrant weight.
"God bless Bette," announced Goulding,
reading the card. "She knows a new picture
is an event, not something you go into thinking,
'Wednesday I get my pay check, what the
hell.
George smiled with quiet satisfaction. Unless
he was more mistaken than he was apt to be
about Bette, those flowers meant she was going
to see this picture through. Bette's hat was in
the ring.
TWO days later, George and Bette were work-
ing together. They were doctor and patient in
his office. The mood between them shifted
subtly and often.
All morning they worked; all afternoon, too.
"Listen, Doctor," Bette, as Judith, said, "I've
never taken orders from anyone. And here's
something else . . . I'm well, absolutely well.
I'm young and strong. Nothing can touch me.
You can't make an invalid out of me. I won't
let you. I'm going. . . ."
"That's right," he told her, "run away! Run
away because you're frightened. . . ."
"Just a minute," Goulding interrupted George
and Bette. "I want you to take this sequence
easy. It's long and it's complicated. In it we've
got to plant the keynote for everything that's
still to come."
The two started from the beginning again.
They tried a different tempo.
Now, when the studio door opened, no sun-
shine fell in. It was dark outside.
At last, Bette came off the set and threw her-
self in her chair. George, looking up as she
came towards him, was frightened for her.
Two years of strain and struggle had pre-
ceded Bette's separation from Harmon Nelson.
The separation, which might have been expected
to be a relief, was, instead, a blow that had
struck at the very roots of Bette's life.
Bette isn't constituted to take failure easily.
Besides, she's enough of an idealist to hold
18
EW FAITH TO
things like marriage vows just a little sacred:
she's enough of a realist to know what little
chance of happiness there is for a woman, alone.
"Maybe," Bette said to George, disciplining
her voice to keep it steady, "maybe I should quit
right now . . . before we really get into this
and it means time and money to replace me."
George knew this was the crisis for her.
"You won't crack," he said calmly. "You
have too much vitality — too much pride."
Bette straightened a little in her chair. "I
hope you're right," she told him.
The truth is that with that simple sentence
George saved Bette.
"Because," as she says herself, "when some-
one you respect counts on you for something
you give it to him."
bEORGE and Bette don't have to say much to
each other. They've come a long way together.
Years ago, it looked as if they were going to
make their screen tests at the same time. But
plans were changed and it was actually on the
Universal lot that they met first. Their ex-
periences there were equally unfortunate and
many times they used what little courage they
had left to encourage each other. Then, simul-
taneously, they signed with Warners to play
together in "The Rich Are Always With Us,"
with Ruth Chatterton, whom George later mar-
ried. Since then they have made a dozen pic-
tures, good and bad.
It isn't, however, from Bette's and George's
professional intimacy that their sympatica
comes. They are out of the same mold. They're
both rebels. They have the same uncompro-
mising sense of justice and the same clean-cut
intelligence. And they're both complete fools
about sticking their necks out.
They had fun on the side lines of "Dark Vic-
tory." too. When the day's work was over the
company would collect in someone's dressing
(Continued on page 86)
In more ways than one, Bette's act-
ing assignment in "Dark Victory"
was the hardest of her career, but
with a single sentence George
Brent gave her the courage to go on
PLAY
WITH
ALICE FAYE
£
/
An amusing new kind of interview originated by KATHARINE HARTLEY
Third in a series of talk-provoking interviews
in which the stars enter into the spirit of
that old game — Truth and Consequences. They
answer with the absolute truth questions that
would ordinarily set them back on their heels
— or pay a penalty. This month, Alice Faye,
famous for her frankness, tells all — all but
the answers to six. But when you read those
questions, you won't blame Alice for taking
the consequences that are shown opposite
1. (Q) What is your habitual costume around
the house?
(A) I've been converted to the slack style
. . . should anyone drop in on me from
ten until four they'll always find me
in about the same outfit — a blue flannel
pair of slacks. They're not elegant,
but comfortable and practical. I'll leave
the hostess gowns to somebody else.
2. (Q) What advantage do you believe you
have lacked in life?
(A) A further education. I had to leave
school early to go to work. I remem-
ber that it broke my heart because at
that time my greatest desire was to
become a school teacher, with all sorts
of fancy degrees. The only point on
which I could qualify for such a career
now is — patience.
(. (Cj) Do royal titles impress you?
(A) Heavens, no, and it's the truth!
Though as a young girl I must admit
that I did look forward to meetin;.;
Prince Charming.
4. (Q) Have you ever sought revenge, and did
(A)
(9)
(A)
you find it "sweet"?
I'm afraid I'm not the type to seek
revenge. I am more inclined to let by-
gones be bygones.
Do children annoy you?
Not at all. I adore them, love to be
with them, and always learn a lot
from them. Their directness and sim-
plicity are what I enjoy most.
6. (0) Who has been a heroine to you?
(A) Marilyn Miller. I worshipped her for
years, because she was so much of
everything I wanted to be.
7. (Q) On what subject do you consider your-
self most uninformed?
(A) History. I never could remember dates
— and I still have difficulty.
8. (Q) Of what things are you afraid?
(A) The dark. I can't help it.
9. (Q) Have you ever written a letter of com-
plaint or protest? If so, to whom?
(A) Miss Faye took the consequences. (Let
(Continued on page 72)
20
^
•^
V
/?.
<c
*<L
o
*S'-.
An "unglamorous picture"
was the forfeit Alice made
for failing to answer ques-
tion No. 9. The little Faye
knows when it's more dis-
creet
remain silent
**&$>*
<?v
^7
PERSONALITY SYMBOLS . . .
As a consequence Miss
Faye was asked to select
from each list below the
item which, in her own
opinion, symbolizes her.
Put them all together and
you have a portrait of
Alice as she sees herself
1. If you were a flower?
calla lily
daisy
poppy
American beauty
\'fea rose
lily of the valley
2. If you were a color?
pink
blue
red
orange
green
crimson
If you were a pet?
fox terrier
Scotty
canary
V Angora kitten
Pekingese
pony
If you were a sound?
chimes
siren
\ bicycle bell
alarm clock
purr
loud
shout
5.
If you were a fabric?
\ mousseline de soie
velvet
chiffon
calico
satin
gingham
If you were a vehicle?
roadster with top
down
station wagon
hansom cab
pony cart
town car
limousine
7. If you were an article
of clothing?
negligee
sheer black hose
white kid gloves
\ evening kerchief
cocktail dress
ribbon sash
8. If you were a food?
vanilla fudge
mixed green salad
souffle
strawberry ice
cream
bread and butter
applesauce
We thought we had Alice on this penalty,
when she refused to answer question No.
54; instead, look what she produced —
the Alice Faye lapel hat, a miniature
hat which may be worn on the lapel or
in the hair. She launched the style her-
self and the hats are now being marketed
There would have been re-
verberations aplenty had
Alice answered No. 33.
She prefers to jump rope
Consequence on No. 39
— these two notes mono-
gram the Martin station-
ery and X m a s cards
•s
to
\
-fc>^
ll
^v
W
H0
Alaska to Addis Ababa in search
of buried loot — the secret dream
of every man! Here are adventures
exciting and gay enough to fill
to brimming six ordinary lifetimes
2£<
FOR some reason that I've never been able
to understand, people are envious of a lucky
break. Way down deep, they sneer at luck
— unless they're the ones who have it. That, of
course, makes the whole thing different. For
the same reason, they seem to find it excruciat-
ingly funny when someone else follows his luck
and it turns out to be all bad.
I've had my share of both.
There's a smell mountain in Alaska named
after me. It's called Flynn's Folly. Yes, I was
the goat in that deal. There's a cove in New
Guinea, a tiny little spot where the sea battles
with the jungle unceasingly. Its name, trans-
lated into pigeon-English, is Man-Go-Along-
Dog. That's me — the natives couldn't pronounce
my name. It's a- other spot where my luck ran
out and provided laughs for the boys in the
island bars. There's an abandoned shaft up the
Sepik River in Papua . . . but why go on with
the grisly list?
Friends and business associates and relatives
have come to me dozens of times with sad head-
shakings and asked, "Look, old boy, why not
drop this? It's a harebrained scheme. You'll
lose your shirt." To which I usually reply that
I'd sooner lose it than wear it out. The tragedy
of life is in its frayed edges and all that they
imply. I don't like that. Right royal robes or
sackcloth. One end or the other. Never medi-
ocrity.
The result is that at heart I'm a treasure
hunter. I always have been, since I was a lad
digging in a garden of a suburban villa near
Sydney, Australia. I'd heard that the previous
and deceased owner had been a miser. In all
the books I had ever read, misers invariably
buried their hoards in the cellar or in the back
yard. We had no cellar, so it was the holly-
hock beds that were elected to suffer under my
youthful but enthusiastic spading.
In one way or another I've been at it ever
since.
Nor am I alone in that urge. I think that
nine men out of ten have the same instinct, but
not all have the opportunity to gratify it. Still
others have the chance but are afraid they'll be
laughed at if they lose out.
Personally, I don't care. Lest I sound whim-
sical, let me point out that my treasure seeking
is quite practical. I'm still a little ahead, by
and large, even including the more obvious fi-
nancial failures.
But, most important, I've enjoyed myself
doing it.
I even get a laugh out of all the wild stories
that have been circulated through the taprooms,
mostly untrue, about my so-called adventures.
But, if the truth of them is not quite up to the
elaborately concocted tales told over a whiskey-
and, they were still not run-of-the-mill and
were delightfully absorbing while they were
going on. Beside them, Hollywood is a very
tame place. People out here work very seri-
ously to make a living. I'd ne%-er done that be-
fore. I'd played to make a living and, I hope,
always will. When a job got to be serious and
seemed to be jeopardizing my personal liberty,
I quit. There was always some treasure, a mine,
a jewel, a pearl or trochus shell bed on a for-
gotten shoal around the corner or across the
seas that seemed much more worth while than
any job whose familiarity was beginning to
make it prosaic.
Hollywood was the first place I had ever found
that paid enough money to make it worth while
to endure the banalities of maintaining a per-
manent anchorage in any harbor. But even
with the money and the pleasure of working at
a pleasant job, I'd chuck it in a minute if I
couldn't have a few months every year in which
to get back to that fascinating game of bucking
mesdames, The Lady Luck and Mother Nature.
UXE of my really successful treasure hunts was
for a mine- up in the wilds of the head-hunting
country on the Wau Plateau in Morobe. New
Guinea. Before I left there I'd seen the air-
plane shorten that long, arduous overland
safari: formerly it had taken a traveler eleven
days to make it and almost another eleven to
recuperate. I made money for myself and three
pals. It didn't last long, but then, what's money
for?
It was not so long ago that I heard of a mine
up in Alaska. The whole situation surrounding
it seemed ideal. One of my best friends, Bud
Ernst, was at loose ends. He pitched in with
me and we began on that delightful stage of
treasure hunting accomplished with elaborate
maps, one bottle of ink, a pen, one bottle not
of ink, pipes, tobacco and an open fire. That's
the time when all the participants make at least
seven million dollars apiece, find Paradise Lost
and meet the beautiful Eurasian Princess who
invariably will fall madly and excitingly in love
with you. It's always you she falls in love with
— never the other guy.
Of course, in your heart you know from pre-
vious experience that you'll probably lose even
the pipes and tobacco, get knifed by a native
who never heard of paradise and doesn't want
to and the beautiful Eurasian Princess will turn
out to be more Asian than Eur- with most of
her teeth gone from too little hygiene and too
much betel nut. She will also have four angry
husbands and a child in every port. But never
let these sober reflections dampen your ardor.
Bud and I decided that the Alaskan adventure
would have to be experienced by air. Any other
route would mean months of overland mushing
and neither of us could afford the time. We
bought a ship, a used Waco in excellent condi-
tion, and proceeded to trim her down and outfit
her for the flight. Days were spent in test
(Continued on page 95)
(Opposite page, top) Mrs. Davison, wife of a professional diver, and
Lili help Errol into a helmet before he dives into the briny; (bottom)
Erick Sundstrom, holding corner of lead chest taken from sea off Isle
of Pines, Cuba; (center) a thrilling aquatic sport — Errol fishes with
bow and arrow. (Below) Skipper Damita and her adventure-loving spouse
iviXruA/
My sex appeal is factory made — strictly to
order. I'm on the production line to stardom.
What price fame? See how you'd like it!
why Broadway managers shouldn't be eagerly
awaiting me in their plush offices.
They all seemed to be waiting for something,
but I don't think I was it: they were probably
waiting for a decent play, or for somebody with
money enough to finance a revival of "Tre-
lawney Of The Wells." They were all very
polite. None of them made a pass at me. But,
BY GLAMOUR GIRL 17,268
Editors' note: here is an unsolicited manuscript,
written by a young starlet under contract to one
of the major studios. It is the story of her actual
experiences in the hands of the experts and, with
minor variations, it's the story of all rising stars
in Hollywood.
I AM B Hollywood Glamour Girl and I hope
I'm satisfied!
Perhaps it sounds a bit vain to come right
out flat-footed with a statement like, "I am a
Glamour Girl." It's like saying, "I am beauti-
ful,-' and I've always hated women who say such
things about themselves. But the fact remains
that a Glamour Girl is exactly what I am, tech-
nically speaking. It's like saying, "I am a cam-
eraman." or "I am a director."
Whatever you are in this motion-picture
business, you are; there's a term for you, and
you're it.
So I'm a Glamour Girl.
I'm by way of being a successful one, too. Not
in too big a way, of course, but I've had my
second option lifted, which means I'm on the
paymaster's list for my third consecutive six-
months' period. Most of us fall by the wayside
after our initial six months. By that I mean
we're dropped by the studio which signed us.
Then we cither go back home or marry a Los
Angeles hosiery salesman or stick around try-
ing to get a break in another studio — while the
nd other little incidentals go merrily and
devastatingly on.
They tell me that's no fun, that business of
just waiting around for another break. But,
of course. I. in the smug sense of my own ability
and importance, can't imagine anything like
that happening to me. To others, perhaps, but
Ai best, though, it's pretty nerve-racking.
e thousands of people walking around
Hollywood with their ears cocked for the sound
df a dropped option.
The face I hold out to the motion-picture
world is a bold, confident face; but deep down
•wing uncertainty about the
Inevitable option time. By the time this little
,1 reaches print, I may be a has-been,
a new recruit to the large army of up-and-
coming hopefuls to whom Thursday has become
just another day.
case of cold economics to the
studios. If they think you may make money
for them, very good they're willing to gamble
on you for a while. They'll spend large quanti-
: money on embryonic star material, but
if the embryo doesn't develop satisfactorily the
ax falls — on your neck. And that economic
angle is what worries me; for, in my first six
months in Hollywood, I worked exactly seven
days before the cameras! Figured on the basis
of my regular weekly salary, each of those seven
days cost my studio as much as the working
salary of almost any well-known featured
player.
Why was I considered a valuable enough
piece of acting property to be signed by one of
the world's largest movie studios? The same
reason why hundreds of other youngsters are
signed every year: hope on the part of the pro-
ducers that an occasional star or featured player
may be culled from the legion of potentials.
And how did I get around to being screen-
tested? Simply by starting out, at the age of
about seven, to become an actress. I played in
at least a million school productions. By the
time I reached high school, I was ready for
leads. After high school, college — and more
plays. Then a sort of borrowing arrangement,
similar to the system employed by the movie
companies in the handling of stars, put me to
work with male college groups who needed
female actors (technically speaking, you know,
an actress is a "female actor"). I reached the
apex of my amateur career, in my own opinion
at least, when I played the title role in George
Bernard Shaw's "Saint Joan." I did the rest
of the company dirt by coming down with a
streptococcus throat infection three days before
opening, but they did me the honor of postpon-
ing opening night for a week, chiefly because
the gal who had been understudying the part
said she knew she couldn't do justice to it after
having seen me play the part. Giddy praise for
a young punk like me!
Probably ten days in the hospital gave me a
sort of unearthly quality that suited Saint Joan,
for I was terrific — a good Hollywood word — in
the role. By the time we had finished our little
run I had definitely made up my mind that
Bernhardt, Duse and Maude Adams were mere
tyros in comparison to me; a conviction which
still lingers in my soul, though I've pushed it
way back inside of me where people who
wouldn't understand can't see it.
HOWEVER, a terrific amateur success is hardly
more than a professional yawn. Still, I had to
be a professional. The jump from one plane to
the other is an easy one — if you can get a job.
I was lucky enough to get one with a good sum-
mer stock company in one of those fashionable
New England resorts.
With that summer behind me, I saw no reason
ILLUSTRATED BY
R. F. SCHABELITZ
24
UMBER 17,268
you see, I wasn't a Glamour Girl at that time
I annoyed lots of people so utterly to death
that at last I got myself a part in a Broadway
production I bubbled the same two lines eight
performances a week for six months. Some
time later, I got another part, and another after
that. That wrote at least a temporary finis to
my career on the legitimate stage, for I was
screen -tested and shipped off to the Holly woods.
I was supplied with a ticket entitling me to
a lower berth. I had to pay eight dollars more
for the upper so that I could have a whole com-
partment to myself, but I felt entitled to that
much luxury — for was I not on my way to fab-
ulous Hollywood?
I had a cold and an earache all the way out;
due, no doubt, to the air-conditioned comfort of
the train. When I reached Los Angeles I felt
like anything but a Glamour Girl; 1 felt just
plain lousy.
There was a man from the publicity depart-
ment of the studio there to meet me, and he had
brought a photographer. They took a lot of
pictures of me: grinning and waving from the
steps; sitting atop somebody's trunk (not mine)
with my legs crossed; swinging happily down
the platform with an orange in my hand, and
all that sort of thing.
The publicity boys drove me to the Holly-
wood Studio Club, where I was going to live.
They made a point of passing the studio en
route.
"Are you impressed?" the photographer asked.
'Terribly!" I managed to answer brightly, but
as a matter of fact I was too sick to be impressed
by anything short ot having Dairyl Zanuck and
Sam Goldwyn act as bellhops for my bags.
When they dropped me at the Club, the pub-
licity boys uttered the words that have become
famous as a greeting to contracted newcomers:
"Just relax and take it easy for a few days.
Honey — you're on salary !"
NEXT day I went to the studio and was shown
around by a young man who was on the payroll
just for that sort of thing. He asked me for a
date.
Somebody showed me my arrival picture in
the Los Angeles Times. I bought a dozen copies
to send home to the folks. The gist of the cap-
tion under the picture was that I was one of
the more famous of Broadway's reigning ac-
tresses, and had arrived in Hollywood to play
leads at once.
I was introduced to all the members of the
casting department, and to the director and in-
mates of the stock school on the lot. I thought
I measured up pretty well against the other kids
of my own professional level, so it was a bitter
blow to have an assistant casting director tell
me that I wasn't so hot from a glamour point
of view. He offered Westmores' as a possible
solution.
So I went to Westmores' and
put myself in the hands of an
operator who surveyed me with
the disinterested professional-
ism of a medico who is about
to perform an appendectomy.
M But miracles were wrought.
J| Back in New York we had al-
ways thought that we knew
how to smear on the glamour.
(Continued on page 70)
It was a bitter blow to
be told I wasn't so hot
from a glamour point of
view . . . the Westmores
remedied that . . . my
clothes were wrong, I
went into hock . . . my
mouth wasn't so good,
either ... I practiced
being provocative,
alluring . . . What price
Glamour? . . . it's fun
25
cs
/
.x'i' «£
LM
■
W,
.*w*
»
Grant and Phyllis Brooks
It's perfect the way it is — but when impulse smacks up
against impulse, keep your eyes on these Mad Hatters
BY RUTH WATERBURY
IN order to get even the dimmest perspective
on the gay romance of Cary Grant and
Phyllis Brooks you have to understand Cary
himself. And that is just as simple of accom-
plishment as your working out one of those
puzzles that consists of a box within a box
within a box within a box.
You have only to see these two magnificently
complementary young people together to know
that they are riotously in love. No casting di-
rector could possibly pick two types more beau-
tifully— Cary so dark and tall and masculine
and Phyllis so slight and blonde and feminine.
You have only to hear their mutual hoots of
laughter over the silliest nonsense to
know that they have more fun together
than a bunch of ten-year-olds dancing
around a Christmas tree. But to try to
figure out what their "intentions" are
toward each other is just as profitable
as attempting an exact forecast of the
weather for next June tenth. The signs
would seem to indicate that it will be
fair and warmer. But it all depends,
with the weather. And it all depends
with these two enchanted clowns.
As for example: the last time I had
seen Cary had been on an intensely
gloomy, sticky day in California. (Los
Angeles Chamber of Commerce, please
don't note.) Cary himself swung open
the door to his simple beach house. His
scowl was blacker than his hair and he
said, "What a foul day. Come on in.
Have some tea." It was a no-account
hour, eleven in the morning, to be ex-
act, midway between breakfast and
luncheon. But we had tea and five min-
utes later Cary murmured, "Gee, I feel
fine." Then he laughed that great ring-
ing laugh of his and explained, "See
what a cup of tea does to me? That's
why the English stick to it."
The next time I ran into Cary (and
"ran into" is most certainly not the
word — the meeting was arranged by
way of a series of telephone calls as
long as your arm) was in New York
and the weather was even worse. It
was bitingly cold. (The New York
Chamber of Commerce can note and
see if I care.) The wind was howling
around and there were biting snow
flurries in the air. I was prepared for
gloom or even icicles dripping off the
glib Grant tongue. For the day was bad
enough, but to add to it, it was right at the time
that the metropolitan newspaper boys were
badgering the life out of our hero asking Cary
when he and the beautiful Brooks bundle, who
also happened to be in New York at the same
time, were going to wed.
I knew that Cary hated New York and any-
thing cold. I knew that he hates being cooped
up in small rooms, though the extreme luxury
of the penthouse apartment where I saw him
would have made any set of nerves coo with
pleasure. I was only too aware that he loathes
any questions that touch, even remotely, upon
his private life. The entire RKO press depart-
ment had warned me that I would suffer a fate
worse than death if I dared even mention the
initials PB. Thus I expected anything — any-
thing, that is, except Cary's bounding out, carol-
ing, "Gee, isn't this a swell day? Come on in.
Have a cup of tea."
So over that uniting tea, which we had in a
jewel of a tiny library, sitting vis-a-vis in red
leather chairs before a small open fire, I decided
I might just as well ace myself in strong with
him. Therefore, I remarked (subtle like a hang-
over), "I know I'm not supposed to talk about
Phyllis and marriage to you."
"Why not?" said Cary, while I fainted.
Such unabashed inconsistency is why I did
believe Cary when he went on to add (after I
had come back to a bemused consciousness)
that he honestly doesn't know whether he is
going to get married or not. For he undoubt-
edly doesn't. From what I've seen of him in
Hollywood and heard about him from his
friends, he never does appear to know five min-
utes ahead (except when it comes to his career)
La Brooks has a quality in common with Cary that
makes their plans as unpredictable as the weather
what he is going to do, or where he is going to
be, or how he is going to be feeling when he
gets wherever it is.
However, when he does get there, he will see
to it that he has a swell time. That's the certain
thing. But a man who can't make up his mind
until fifty-nine minutes after the eleventh hour
what color shirt he is going to wear can't be
expected to keep any timetable on the hoopla
of his heart.
However, Phyllis is almost as impulsive as he
is and one day (and it may be tomorrow for
all they know) one of Cary's impulses may
bump head on into one of her impulses; and
there they will be, full of rice, Lohengrin
marches and preachers, smack in the middle of
a marriage.
For instance: the reason that Cary was in
New York was that he was returning from a
trip he had made back home to Bristol, Eng-
land, to see his parents. He is devoted to those
parents, and to England, too, being still an Eng-
lish citizen, even if he does prefer to live in
California. So, whenever he gets time enough,
he dashes across the Continent and the Atlantic
Ocean to visit them. This winter he had lost a
lot of weight and was tired out from working
down in the desert on "Gunga Din." Columbia,
who has next claim on him professionally, didn't
have a script ready. So it worked out that he
had time enough for one of those six-thousand -
mile vacations of his.
But returning from abroad, he was suddenly
aware of missing Phyllis very much indeed. He
missed her so poignantly, in fact, that he
couldn't wait a second longer to hear her voice.
So, with the boat still one day out from New
York, he put in a telephone call from the ship
to her in California. He told her he did wish
she were going to be in New York next morn-
ing, as he was to be, to see the shows with him.
It was a thing they had long dreamed of doing;
but, alas, she was working on a picture and he
wouldn't have time to stay in New York until
she was free, so that was that, and she was an
angel, anyhow.
Now putting through a telephone call
from a ship at sea all the way out to a
girl in Hollywood is no mere trifle, not
one of those things you just do every
morning, like brushing your teeth, let's
say. So Cary was a bit miffed that for
all of Phyllis' sounding gay as a butter-
cup at hearing from him, she also
sounded rushed.
To be blunt about it, he got the dis-
tinct impression that she had hung up
the very instant she could. It annoyed
him so that he gloomed around the boat
all the rest of the evening, thinking hard
thoughts about dames in general and
about one saucy-faced little blonde in
particular.
NEXT morning, he came down the
gangplank— still sulky, still sore. Then
he loosened up and figured he had gone
completely wacky. For there, at the
foot of the gangplank, was Phyllis.
What had made her sound rushed on
the telephone was because she was
rushed, having decided the instant she
heard his voice that she was going to
fly to New York to meet him, picture
or no picture, but that she hadn't a
moment to waste if she was to make it
on time.
Well, did that set off a lot of steam
whistles. Instantly. Cary arranged to
stay with his friend, Bert Taylor, whose
sister, the Countess di Frasso, is Cary's
favorite Hollywood hostess. Phyllis en-
sconced herself in one of Manhattan's
most glittering hostelries. They were
so gay that the very bird on Phyllis'
hat started to sing.
As soon as they were unpacked Cary
and his little lamb planned to go to town. But
everywhere that Cary went, a pack of reporters
was sure to go.
Were he and Miss Brooks being married in
New York, asked the reporters. If so, just
when? Just where? Was it true that Miss
Brooks was now shopping for her trousseau
and that he preferred pink? Would he demand
that she give up her career after marriage? If
not, why not? If so, why so? Who, what, where,
when?
"Eeeeeeyah," cried Cary at me from behind
those very white teeth of his as he told me
about it. He got up, nearly knocking over the
tea tray, and took one stride up the room and
one stride back (that being all the space would
permit) and gave a fine burlesque of a man in a
(Continued on page 94)
27
(ftrclh
>S
"When I got that snapshot
you sent, Marie," Jelliff ex-
plained, "and saw what a
swell setup you had and
how well you must be doing,
I thought I'd drop on out"
f stori
OF
BY NINA WILCOX PUTNAM
The story thus jar:
WHEN Mario La Tour, famous star of
.silent clays, discovered that she was
almost penniless, except for a heavily
mortgaged Long Island be hit on the
i'iia of launching Betty, her orphaned grand-
daughter, on a Hollywood career. Her first set-
hack came when she learned that her old pro-
ducer was no longer jn charge of Goldmont
Studio. Instead, Benny Rossman, an enemy of
long standing, was now production head. He
refused to give work to hi r, or any member of
mily. on the grounds that .she was a trou-
ble-mak'
Still another blow awaited Marie. Jack Jell-
iff, ex-hoofer and friend for many years, had
handled the sale of Marie's home, but with dis-
astrous results. No money was left, so Marie
took work As a caretaker of a Beverly Hills
home during the absence of the owners. She
kept Betty ignorant of her true financial state,
pretending that she was renting the house.
Through Lydia Watts, an ex-burlesque queen
and former friend of Marie's, Betty met Christie
Beall, a young director at Goldmont. and. using
the name of Betty Smith, persuaded him t<> test
her tor a role in "Bringing Up Mother." The
test was a success.
On the first day of shooting, Chris, who had
been aware of Marie's identity all along, asked
her to be on the set to give Betty confidence.
Since Rossman. Marie's enemy, was out of town,
she agreed. Chris asked Marie to run through
the scene for Betty. He shot it "just for a gag,"
a technique wrhich he followed through the en-
tire production.
At the studio preview, the audience was only
lukewarm to Betty's performance, that is, with
xception of Alex Lorm, a fortune-hunting
adagio dancer who had been playing up to Betty.
A second version was then run and Marie saw
herself on the screen in Betty's role. She was
a success. Once home, Betty accused Marie of
double-crossing her. "I'm going out on my
own," she shouted. "I'm going to show you
where to get off, and I'm never coming back!"
Now continue Marie's story:
28
"Marie La Tour" — spelled out
in lights! But that thrill was as
nothing compared with the jolt in
store for this grand old trouper
WHEN you think you have ccme to the end cf
your rope you most generally find another
length left that you hadn't known was there.
And that was what happened to me the night
Betty slammed out of the house saying she
would never return.
Of course I followed her as far as the drive-
way calling out for her to come back. But
when I got outside she had already started up
the car, and the old thing made such a noise
that she either didn't hear me, or else had a
swell excuse to pretend she hadn't. Anyways
she drove off. and I walked back on into that
big empty house feeling as shut off as an unwel-
come radio program.
Of course when a person gets to be my age.
no matter what a member of the younger gen-
eration says, why we discount it at anywheres
from ninety per cent up. and it just didn't seem
possible that Betty could actually believe even
ten per cent of the terrible things she had ac-
cused me of. However, not to be sentimental
or anything, I certainly was upset and shocked;
in fact so shocked I couldn't as yet realize what
had happened. Betty would calm down and feel
sorry. I was sure. So I tried to do the same.
Well, I waited supper, and put a light in the
porte-cochere, and did all the other things which
is supposed to be done for errand children in
hopes they will finish their errand and remem-
ber to come on back home. But as the hours
by so did a lot of cars, none of which
stopped to let Betty out, and by two A.M. I finally
admitted to myself that the poor kid must have
been pretty serious. I couldn't very well go
looking for her in case she came back while I
was gone, or telephone the Bureau of Miscing
Persons: because my missing Betty did not as
yet mean anything except that she was tem-
porarily mislaid. So I spent a bad night fight-
ing with my bed and beating up the covers
every time I thought of those fatal sequences.
However, finally the bed won and I dozed off,
only to wake up with a start after what seemed
like about one minute. It was eight o'clock
and just as I noticed the time, I heard a car
stop in front of the door.
WelL without even looking out of the window
I flew into my wrapper and down the stairs, all
set to tell Betty exactly what I thought of her
putting on such an unholy show. For now that
she was back I was mad clean through. I com-
menced to let her know it even as I was open-
ing the door.
"Of all the outrageous things to do!" I
shouted. "What do you think I am any
Come on in this minute while I box j'our ears
for you!" And here I stopped dead on account
it wasn't Betty on the steps at all. but Jack
Jelliff with two large straw suitcases, one on
either side of him, and a taxicab waiting behind.
"Hey!" he says. That's a nice welcome! I
suppose I ought to turn around and go right
back where I come from, but . . ."
"Jack,"' I xcuse me! I thought you
was somebody else — you're as welcome as a
government refund! Come right on in!" He
looked relieved and broke into a smile.
"Sure!"' b "I'd love to, but . .
jerked his head towards the taxL
Well half an hour later we was having coffee,
both of us trying to talk at once.
"When I got that snapshot you sent me
explained, "and saw what a swell setup you
had, and how well you must be doing, I thought
I'd drop on out
leg hurts pretty bad in the cold weather,
you know, and besides I couldn't help feeling
you hadn't ought to be out here without a man's
protectio.
y didn't you let me know you were com-
ing?" I asks. Jelliff rubbed his bad knee the
way he does when he cant think of a quick one.
"Well.'' he says at last, 1 was afraid you
might feel embarrassed about accepting my
help, but I wanted to show you there was a
strong right arm behind this man's cuff."
Of course, I knew perfectly well Jelliff had
come out simply because he couldn't get on
without me and I don't mean only in a financial
sense either. I and he had been too close too
long, for either of us to break away easily. But
I was upset by JellifFs hinting that he hoped
he was going to be worth the money I was
giving him. So I pretended I didn't get the
double entender though his eyes was very en-
tendered indeed.
"Jelliff," I says earnestly, "I am not only glad
to accept your help, but I need it bad. As for
how I am doing, for the moment I will allow
this house to speak for itself. If it says some-
thing it don't really mean, why we can go into
that later. But meanwhile I am in trouble,
And then I gave him the case history of Betty
(Continued on page 79)
\eN: la^
%**»* ft."1
:-
\»&e
ILLUSTRATIONS BY •■ -. : : E L L A N D BARCLAY
THEY'RE TALKING
THE name is pronounced "Lee." She is
very beautiful, with red-brown hair and
sea-green eyes. She is very talented. At
first, she wasn't sure she wanted the role of
Scarlett O'Hara: but now she has it . . . which
means that Vivien Leigh, the British actress
comparatively unknown in this country, finally
selected for the heroine of "Gone with the
Wind," is a name that's on the tip of everyone's
tongue.
It also means that Vivien Leigh is in what
Hollywood terms a "tough spot." Already we
are describing her natural English reserve as
"high-hattedness." Already we are complain-
ing, "At least, they could have chosen an Amer-
ican girl!"
But Vivien Leigh is a trouper. She is tackling
her hazardous assignment with quiet courage.
David Selznick chose her for the role. Well,
she will do her best. "It is all I can do," she
said to me the other day. And then she added,
and I liked her for it, "But between you and
me, I am frightened to death!"
lite the fact that we call her English,
Vivien Leigh has the ancestry of Scarlett. Her
father, Ernest Richard Hartley, onetime stock
broker of Calcutta, India, came of French fore-
.md her mother was Irish. Vivien, how-
ever, lias a far more cosmopolitan background
and education than that of Scarle't. Born in the
town of Darjeeling, India, at the foot of the
Himalayas, she was educated in schools scat-
throuRhout Europe, always the finest. She
speaks German, French and Italian as well as
she does EnRlish and her dramatic education
lined at the famous Academy of Dramat-
ic Art, in London. We Americans will remem-
ber her as the hussy wife of the book dealer in
Bob Taylor's picture, "A Yank at Oxford."
She is married to Leigh Holman, a barrister
of London, and they have a five year-old daugh-
Suzanne.
Will she succeed as Scarlett' That, of course,
remains to be seen. Meanwhile, wouldn't it be
sporting to withhold judgment until "Gone with
the Wind" is finished?
BOB HOPE, he of "Thanks for the Memory"
fame, is a chap who grows on you. You
see him in a picture and at first you're a
little disappointed — at least, I was — because he
isn't very good-looking. But somehow when
the picture is over you find yourself remember-
ing his wisecracks; for instance, his eulogy of
Southern California . . . "What could be finer
than getting up in the morning and picking
oranges in your own back yard. Yaaah! And
then in the afternoon going out to Santa Anita
race track and picking lemons." You laugh . . .
and all of a sudden you are a Bob Hope fan.
According to Bob's own story of his life, he
was born in England, the youngest of eight
brothers, but was brought, when he was very
small, to this country to live in Cleveland, Ohio.
When he had finished his "education" he be-
came an automobile salesman, which job he in-
sists he kept solely because they needed a mas-
ter-of-ceremonies at salesmen's meetings.
Fired at last, he went into vaudeville, ulti-
mately got a break. Asked by a theater man-
ager in Newcastle, Indiana, to announce an act,
he began to tell stories in approved "emcee"
style. He stopped the show. From then on he
was booked as a comedian, at first playing small
houses, then later Big Time.
As vaudeville began to wane, some screen of-
fers came. He was tested first by Pathe. "That
test was a flop," he says.
Came a lull in the screen offers and he went
into radio. • But motion pictures looked him up
again and he finajly went to work for Para-
mount. He has a long-term contract now and
he and his wife figure they are all set.
"Hollywood is a great place," Bob says. "I
live out in the Toluca Lake district where all
the big stars are ensconced. (Remind me to
look that word up.) When sight-seeing busses
pass by Walt Disney's house, the guide says,
'That's Walt Disney's house.' Then they pass
by Jim Tully's house and the guide says, 'That's
Jim Tully's house.' Then they pass by my
house . . . now don't get me wrong. I love
Hollywood!"
JEFFREY LYNN, living on a New England
farm, never saw a motion picture until he
was fifteen years old. The picture was "Abra-
ham Lincoln." He saw it in the basement of
the Auburn, Massachusetts Methodist church.
And he thought it was so wonderful he decided
then and there to be a motion-picture actor.
Of course, as time went on and he attended
high school in Worcester and Bates College in
Maine, he kind of forgot his histrionic ambitions.
But after he had graduated and had secured a
dull job with a telephone company, he got to
thinking about them all over again . . . and never
changed his mind after that.
Followed jobs as English instructor and dra-
matic coach at the Lisbon, Maine high school;
dry-goods clerk in Worcester; night doorman at
the Embassy Newsreel Theater in New York;
clerk at Macy's department store; and hungry
interludes in which he didn't work at all and
seldom ate.
Finally, though, he secured a summer stock
engagement at Abingdon, Virginia and this led
to a bona fide Broadway spot in "A Slight Case
of Murder." Came a job with the touring com-
pany of "Lady Precious Stream" in which he
did so well he was signed for the lead in the
road company of "Brother Rat."
This company came to Los Angeles. Talent
scouts spotted him. He made a screen test for
Metro-Goldwyn-Mayer. Warner Brothers saw
it and snapped him up. At first, he played
minor roles in such pictures as "Cowboy from
Brooklyn" and "When Were You Born?" But
when Errol Flynn staged his famous hookey
act, Jeffrey was given his role in "Four Daugh-
ters." He's been news ever since.
He is Irish, this Lynn, with more than his
share of Irish humor, but he takes his work
seriously ... so seriously that he vowed to me
a few months ago he wouldn't marry for four
years. "I've too much else to do," he insisted.
"Marriage wouldn't be practical."
Still, I have seen him so often, lately, with
that pretty Doris Carson . . . after all, when was
love ever practical?
30
\BOUT
Six newcomers prove themselves newsworthy
BY MARIAN RHEA
YOU see his name in lights, now — John
Payne. Since "Garden of the Moon" and
particularly since "Wings of the Navy,"
you mention him among the first when you talk
about Hollywood's new stars. You say, "Bob
Taylor and Ty Power had better watch out!"
As a matter of fact, anything you say along
this line is about right. For young John
Payne, grandnephew of the John Howard Payne
who wrote "Home, Sweet Home," six feet, two,
broad-shouldered and handsome, gifted with a
good singing voice as well as a flair for dramat-
ics, has what it takes to get by in pictures!
A good many things happened to him, how-
ever, before he ever faced a movie camera. In
1929, when he was seventeen, living in Roa-
noke, Virginia as a rich man's son, his father
died. And when his will was read it developed
that each of the three Payne boys must turn
thirty-five before inheriting his share of an
estate valued at $1,500,000.
Whereupon, John, never having earned a cent
in his life, started out to seek his fortune. First
he was a bouncer in various places he describes
as "joints." Then, endowed with a talent for
wrestling, he took it up professionally — again,
according to his own admission, not very suc-
cessfully. Writing came next and ultimately he
sold to the "pulps."
Finally, he tried his hand at acting in stock
at Roxbury, Massachusetts; then landed a
Broadway job in Beatrice Lillie's "At Home
Abroad," at $35 a week. Goldwyn saw him, of-
fered him $350 a week and brought him to
Hollywood.
That was three years ago. John never made
a picture for Goldwyn nor did he do much at
Paramount, where he later had a contract. But
Hal Wallis at Warner Brothers noticed him,
thought him a good bet and featured him.
In the summer of '37, John met Anne Shirley
at a cocktail party; proposed to her within a
week and married her a month later. They are
now "living happily ever after," having a lot of
fun and saving their money, which two "musts"
constitute a big part of their life's philosophy.
A GOOD many movie children are to be
found in Hollywood but, according to
my mind, it is small, pig-tailed Virginia
Weidler who, of them all, has remained the
most completely untouched by fame and for-
tune— the reason, perhaps, that we like her
better with each succeeding picture, especially
as Andy Hardy's pal in "Out West with the
Hardys" and as John Barrymore's daughter in
"The Great Man Votes."
She is eleven now and she played in her first
picture, "Moby Dick," at the age of three. But
to see Virginia away from the studio, you would
never know she had a career.
Perhaps it is because of the size and character
of the Weidler (pronounced to rhyme with
"side") family. There is the father, a quiet,
kindly woodcraftsman, German by birth; the
mother, quiet, too, and comely and sensible; two
elder sisters and three brothers nearer Virgin-
ia's age. They live in a big old house in the
mountains above Santa Monica. They own two
dogs, some chickens, two ducks, six cats, a
honey bear, a couple of love birds, a baby burro
and two goats, to say nothing of an automobile
and a sailboat. They have no servants.
A healthy, normal little girl a bit on the tom-
boyish side, Virginia's real interests are cen-
tered in the boat she and her brothers are build-
ing, the family pets and the dramatics they stage
regularly in the garage . . . pardon me, theater.
I spent an afternoon out there not long ago
and picked up considerable information. One
of the dogs is named "Laddie," inappropriately,
"because we didn't know he was a she until we
had named her a him," according to Virginia.
The love birds are "W. C. Fields" and "ZaSu
Pitts." The company's latest dramatic offering
was "The Midget's Revenge." Virginia played
the midget, not wholly successfully, it seems.
"I'm gettin' too big," she remarked, ruefully.
"By the way, do you like being in pictures?"
I inquired.
She looked vague. "Pictures? Oh, sure. But
I like lotsa other things better. Come on, I
gotta get the fleas off'n Laddie."
WHEN I told young Nancy Kelly I was
going to write a piece about her, she
made a gay wisecrack. "Don't forget
to glamour me up," she said. "Me — I've been
reading about Hedy Lamarr!"
Still, when you think about it, Nancy Kelly,
20th Century-Fox's new-found star (see "Sub-
marine Patrol," "Jesse James" and "Tail Spin")
doesn't need "glamouring up." To my mind,
she stands personally and professionally on her
own two feet, a lively, pretty, intelligent Amer-
ican girl.
Nancy was born in Lowell, Massachusetts, but
she has spent most of her seventeen years in
Astoria, Long Island. Her father is Jack Kelly,
formerly a theatrical ticket broker, and her
mother is the Nan Kelly who was once a model
for James Montgomery Flagg. From Nancy's
very babyhood, she and her mother were
"friends." Nan — and Nancy calls her that —
taught her to act. They dramatized every child's
story they knew and Nancy loved it all, even
to turning on the histrionic tears.
Her break came the day Nan Kelly took her to
watch the filming of "The Untamed Lady" on
Paramount's Long Island lot, in which Gloria
Swanson was being starred. The director, look-
ing for a child who could cry, noticed four year-
old Nancy. And when he learned she could
weep at will, gave her a part in the picture.
From then on until she reached the "awk-
ward age," she played in silent pictures, her list
numbering fifty-two, none of which she ever
saw, incidentally. Finally, though, she outgrew
her cuteness and decided to transfer to radio
as the ingenue on the "March of Time."
The years passed and Nancy came into her
early teens. One day she tried out for Gertrude
Lawrence's play, "Susan and God"; got the part
and did so well that a 20th-century scout no-
ticed her. Hollywood resulted.
Still, she isn't too set up about this seemingly
easy success. "I've a lot to learn," she admits,
readily, "an awful lot." Which becoming mod-
esty means, I should say, that she is the girl
who can do it.
\^hw^
Nelson Eddy, in his own story of his surprise elopement,
tells why he waited so long for what he wanted most
BY SARA HAMILTON
WK wanted each other more than any-
thing else in the world."
And so Nelson Eddy and Ann
Franklin were married.
Behind that statement of Nelson's, given ex-
clusively to us in the name of friendship (and
deeply cherished on our part) lies the story of
Hollywood's s1 omance
A romance that has kept itself lodged deeply
Within the hearts of Nelson and Ann, skipping
the headlines, the gossip columns, the usual
brass-band publicity of Hollywood. The only
kind of romance of which Nelson Eddy could
be capable.
"I know I've been criticized for not going out
more often with girls, being seen at a certain
night club one night with one girl and another
night club next night with a different girl," Nel-
son told us, "but you know that isn't my way.
Besides, five years ago I found the ideal girl
for me and that was all I wanted — just the one
Kill in the world for me."
Here's how it happened — that meeting. Over
five years ago, when the name Nelson Eddy
was known only to concert audiences, the singer
came to Hollywood to find a place on the screen.
Under contract to Metro-Goldwyn-Mayer, he
was permitted to remain idle for many long
months. During that period, when things seemed
pretty hopeless, Nelson popped over one .
noon to see his old friend, Doris Kcnyon, and
have a game of tennis.
"This is Ann Franklin, Nelson," Doris said
that day, introducing a tiny blonde woman with
a deep infectious smile that matched her bright
gaiety.
They played tennis together — Ann and Nel-
son — and afterwards, talking, Ann Franklin
sensed the unrest that was his. As a director's
wife (Ann had, only the year before, divorced
Director Sidney Franklin), she had known
many of the angles and problems of the movie
world and she could tell how hard this man was
finding it to adjust himself to Hollywood's way
of doing things.
So. before he left Doris' that afternoon, she
spoke a word of encouragement and advice to
i. He stood and looked down at her, at
her blonde prettiness, her bright smile, and
caught beneath it all the deep understanding in
her heart.
"When may I see you again?" he asked her,
solemnly. "Is tomorrow night all right?"
It's never been anyone else for Nelson Eddy
from that moment on.
Circumstances have thrown some of the most
beautiful women in the world in his path, social
debs and celebrities have sought him out after
parties and concerts in Hollywood and on tour;
but to Nelson it's never been anyone but Ann.
And to Ann it's never been anyone but Nelson.
They wisely postponed marriage until Nel-
son could get definitely established in his work;
until the gruelling grind and the uncertainty of
public reception and fancy were over.
"And it's worked out swell," the actor said.
"I don't believe it will make a bit of difference
to the fans.
"In fact, I'm deeply touched at the hundreds
and hundreds of cards and wires and messages
that have poured in from fans all over the
country."
DlJT, even so, Nelson had agreed upon one
thing in his heart — he wanted Ann more than
anything else in the world. And his fans are
applauding his stand.
"There will be no period of adjustment for
Ann and me," he said. "We've come to know
each other so well after five years. She knows
my moods, my likes and dislikes in foods, my
preferences in people, books and recreation and
I think I know Ann pretty well. My marriage
won't make any difference at all in my work.
I'm going right on with my concert tour and
Mrs. Eddy is going along. When I return there
will be pictures to make and more radio work."
"Is your bride musical, Nelson?" I asked him.
"Thanks heavens, no," he said. "The papers
were all wrong about that. Ann loves music
but doesn't make music of her own. I'll tell you
something about that too: I was always afraid
I might someday fall in love wdth a musician
and thank heavens I didn't. You see, this way,"
and his turned-up-at-the-corner-grin widened,
"Ann can ask me if such and such is true about
a certain piece of music and I can authoritatively
say 'Yes' or 'No.'
"Good idea, don't you think? I mean, to have
at least one good 'yes' or 'no' always ready."
Last October he gave Ann an engagement
ring.
"She wore it under her glove and kept it
hidden," Nelson said, "for we didn't want the
engagement announced. You can understand
why we didn't want the publicity."
"I can understand you wouldn't give anyone
a darned bit of satisfaction when they tried to
pry it out of you," I said.
In fact, Nelson and Ann kept their secret so
well hidden even their closest newspaper friend
knew nothing of it. They made no effort to
conceal their friendship, dining here and there
together, but Hollywood had grown so used to
seeing Ann and Nelson together they more or
less accepted it as just that — two companionable
people enjoying fine friendship.
Once I heard Ann say in answer to the same
old question of their marriage plans, "But we're
old friends, Nelson and I. You should know that
by this time."
But a deep rosy glow crept up Ann's cheek
to her blonde hair as she spoke, for even then,
under her glove, was Nelson's engagement ring.
(Continued on page 75/
32
SPEAKS
7\o Ed'
wood a
cwrfagi
7/-
* /y
A duet finale that culminates five
years' of love's old sweet song: Ann
Denitz Franklin becomes Mrs. Nel-
son Eddy to the tune of a surprise
elopement, the applause of Holly-
wood and the envy of a goodly per-
centage of the female film audience
flyman Fink
e
5£S
» ;i
if i
As
*-
ON THIS AND THE
FOLLOWING PAGES PHOTOPLAY [
BRINGS YOU HOLLYWOOD
AT ITS PICTORIAL BEST
Joan Crawford of M-G-M's "The Ice Follies of 1939'
A stepped- up, swing version
of glamour — these close-
ups of gals who have what
it takes to make women
osemary Lane of Warners' "Olclaho
*;. V
With the smallest
dog in the world
r*
HI
^=^
r
y
*
}
f I
hantine coyness
1
Chief purser
Come and get it
Dainty morsel at tea time
/ANT TO BE A STAR!
Then you'll have to be prepared to be as
good a sport about posing for publicity shots
as was Norma Shearer, for stunts make for
stardom. But she who stoops to folly stoops
to conquer in Hollywood: i.e., she wins
fame. Whereupon, she can forego giggles
for glamour, be poised instead of posed
Bang-up pose with the smallest pistol in the world
A major star today,...
thumbs down on public»ty^stunt».and»
be herself — first lady ot Hcfcwo6*d /
£m* w
■---,-
fc
'Aw-*'
John Garfield: born in the Bronx, reared
a "difficult boys' " school, matured in tl
theater, who brings to the role of Diaz
"Juarei" a strange medley of beauti
tragedy and passion unique to Hollywoi
a
■
Jean Parker: the lighter side of celluloid, re-
freshing hazel-eyed breeze of "It's Spring
Again," who talks modestly of her talent,
proudly of her husband and is, most emphat-
ically, an ingenue sprinkled with stardust
PHOTOPLAY
DISCOVERS
ANOTHER NEW PHOTOGRAPHER
DIRECTOR LEW LANDERS
A third exposure in our
"Exceptional Photographers"
series — Lew Landers. We
found him in Hollywood's own
back yard, clicking while
he worked. Picture-making
is his business; picture-
taking, his hobby. Here's
how Hollywood appears
to his candid-camera eyes
'Listen, Oakie!" — Jack takes orders; "Annabel Takes a Tour"
"Brimful" — photograph of a movie star who won't take orders
Director Landers, on his toes,
makes a "quickie" of Sally Eilers
"Riot Scene" — taken during the filming of "Condemned Women'
"Our Neighbors" broadcast — and are
Eduardo Ciannelli— camera loot from a visit to "Sunga Din'
"Pacific Liner" — Landers deserts megaphone for camera
'V
Paul Guilfoyle— of Landers' most recent film, "Pacific Liner"
'Pipe down" — Chester Morris relaxes between scenes
Bette Davis
>A«
Ov
K
^K
**
Ginger Rogers
f
P*
f
WE LOVE 'EM
To gild or not to gild the star, that's the
question. Some like them candid; some like
them coy. Photoplay prefers them with a big
helping of naturalness. And how about you?
Anita Louise
Prominent unattached stag of Holly
wood — David Niven, who shed h
Scotch formality, an army commissior
and a family title to explore America
and trouble in a Cuban revolution
he sailed for San Francisco; me-
Sam Goldwyn ai a dinner part,
became Niven, protege of Gold*,
and, in "Wuthering Heights," on<
of the best bets in the businc.
A quiet, dark-eyed young woman with
an oddly chiseled face — Claudette
Colbert of Paramount's rollicking "Mid-
night" company. At six, she was
pupil Lily Chauchoin, French import
in New York's P.S. 59; at eighteen, she
was the girl who'd come to Broad-
way on a casual tea-party bet. To
Hollywood today, she is the dynamic
Mrs. Joel Pressman, modern exponent
of the art of well-bred sophistication
Above: Chaplin, I
Right: Paulette God-
dard, whom friends think
might be Mrs. Chaplin
A toast to Chariot of the
past and to Chaplin, per-
sonage of today, mark-
ing the fifty-year run
of a great performance
I
The man whom the public never forgets — the unassuming,
gray-haired Chaplin. English born, he started stage work at
twelve, toured in vaudeville; then, in 1913, entered the film
industry. His private life made headlines: his two marriages,
to Mildred Harris in 1918 and to Lita Grey in 1924; the birth
of two sons; his divorces — yet to the American public he
remained primarily the Tramp of the baggy trousers and
soulrul eyes. After eight years of inactivity, he produced, in
1936, "Modern Times," found the public as Chaplin-con-
scious as ever and is now busy, on his fiftieth birthday,
with production of a political satire, "The Dictator."
Interesting commentary on this newest effort is that Chap-
in is but four days older than Germany's Adolph Hitler
Ultra-violent Raye
V
\ » '
^j^^f
\G*
^8>C^
CO
o*
A*
w
,*c*
WITH
Girl with a big mouth . .
WIDE APPEAL
Outstanding clamor girl of Holly-
wood is Martha Raye, who produces
loud and funny nonsense for the
motion -picture industry. Natural
resources: wide-open face, big
mouth and an innate knack of know-
ing how to use both profitably.
Herewith the Raye formula for
stardom: be born backstage in a
theater; debut at three in your
parents' vaudeville act; sing your
way through the night clubs and
then leave the rest to Hollywood
big heart, big brain
u .
tltftt
ViOlU
^0
^^
. . oVw'»a
dett«vl
.*»+»**"
*.«*«"*■
Dizzier than ever — this month's
whirl of the town's fun — out Holly-
wood way where the stars begin
Cut Short
COMPLETELY ignored by the eager little fans
who come to Hollywood searching for stars are
the local barbershops.
Not the swanky, red-leathered affairs, but the
little side-street shops that often offer a wel-
come retreat to male stars.
Dropping into a tiny two-by-four shop on
Sunset Boulevard one day for a "quickie" hair
trim, one of Cal York's "Gal Fridays" demanded
the barber leave at least a suggestion of curly
locks over the ears.
"So that's the way you like it, eh?" came a
voice from the only other chair in the shop.
Twirling quickly, she gazed, with considerable
astonishment, into the twinkling eyes of her old
friend, benedict Nelson Eddy.
And there's the Hollywood High School lad
who dashed into another small barber shop on
Santa Monica Boulevard and demanded to be
made into a glamour boy.
"Got a heavy date." he laughed, "and if I
don't come out of this looking like Tyrone Power
I want my money back."
"I demand you get your money back right
now." said the customer in the next chair, re-
moving the hot towel from his face.
The high school boy sat open-mouthed and
big-eyed with surprise.
The other customer was only Tyrone Power
himself.
This Month — In Review:
FRANCIS LEDERER becomes an American
citizen. Since last autumn Lederer has been
practically "a man without a country." for his
native Czechoslovakia was dismembered by
Hitler. Lederer, needless to say. is Hollywood's
happiest man. . .
Margaret Sullavan has at last come into her
own — she's boosted to stardom by M-G-M
Elsa Maxwell came to town and the town be-
came Elsa's. . .
June Travis and Allan Lane call off the.
gagement. . .
Alan Curtis and Priscilla Lawson call or:
marriage. . . .
0*°
We Pause to Wonder:
I HE selection by New York critics of the for-
eign films, "The Citadel" and "Grand illusion,"
as the best of the year has all Hollywood gath-
ered in quiet, sober little groups, discussing the
subject pro and con.
"What is hampering our films?" is the ques-
tion from producer right down to bit player.
And the answer is always the same — heavy-
handed censorship.
Censorship that has eliminated all sparkle,
all spontaneity, all life from present-day pic-
tures. Censorship that has motion-picture fans
everywhere recalling, with nostalgic longing,
P H
B Y
O T O G R A P
H Y M A N f I
One-Minute Drama
IT was the night of the "Gunga Din" premiere. The klieg
lights searched the skies above the Hollywood Pantages
theater. There was a grandstand for spectators— not of the
picture, but of the parade of attending celebrities— and the
onlookers cheered as limousine after limousine drew up to
the curb and deposited its famous cargo.
Inside, the cameramen were working like lightning . . .
"Smile. Miss de Havilland, please . . ." "Look this way,
Miss Young, please . . ." "Dick, won't you and Joan stand
by the door, there?" "Miss Kelly— Nancy Kelly, please pose
lor us!"
It was right after young Nancy, only a few weeks a star,
had been snapped that it happened. Another imposing
limousine arrived and a beautilul woman alighted. She was
wrapped in ermine and she wore orchids ... Kay Francis.
Experienced in the ways of premieres, she paused before the
photographers as she had done a thousand times before,
waiting for them to take her picture. But somehow the
cameramen didn't seem to see her. Somehow they were
busy elsewhere. Oh, yes, one or two may have snapped her,
but that was all.
We shan't forget the look on her face when she saw how
things were. Surprise, hurt, dismay were written there for a
tragic, revealing instant. Then she smiled and, head high,
passed on. But we knew she had realized for the first heart
breaking time, how fleeting is glamour and how tickle is fame.
We had seen the same sort of thing happen to Mary Pick-
ford a few years before and we thought how sadly does
history repeat itself— in Hollywood as everywhere
the bittersweet memories of "Broken Blossoms,"
"The Cheat," "The Letter," the Valentino heart
throbs.
Certainly Hollywood is against suggestiveness
or indecency in films, but desperately it cries,
like a drowning man, for a fighter hand in pre-
senting unhampered to intelligent audiences
stories of the classics and everyday happenings.
Will this death clutch on movies be lightened,
or is the fifth greatest industry in the world to
stagger under a load which it cannot possibly
survive?
Taylor Marriage Talk
IF Bob Taylor and Barbara Stanwyck march
altarward (and Hollywood is wondering whether
they will or not) it will be because Bob's studio
unwittingly opened the way.
It's no secret M-G-M has constantly advised
Bob that a bachelor at the box office is worth
two benedicts in "B" productions. It's even
said a clause in Bob's contract demands he re-
main single; but such a clause cannot be legally
binding if a star chooses to ignore it.
But now Bob need no longer depend on his
bachelor rating for future security. His studio
has presented him with a brand-new contract
(at Bob's suggestion, of course) that guaran-
tees a man-sized fortune at the end of three
years. And since Bob has been genuinely in
love with Barbara for several years, there seems
to be no particular reason for delaying.
Is It True What They Say About Power?
I O those who have doubted the sincerity of
Tyrone Power's love for little Annabella, take
a tip from Cal It's the McCoy.
Recently we were given an opportunity to
observe the two at close range and all we can
say is, if it isn't love it's the best imitation that's
ever been given. Across a room little bridges
mce ai Hie bar" 111 UK1 MllllTe ol a lriend, Ty
softly whistled a little Spanish air which in-
stantly turned the starry eyes of Annabella in -
his direction. Some music remembered from a
South American rendezvous all their own.
Yes, you can take our word for it, it's love.
Lamarr or Politics?
rlEDY LAMARR was a dinner guest at the Jack
Warners' the other night and her partner was a
certain attractive young man from New York
(non-professional). They seemed to enjoy each
other at first, but, after a while, the young man
turned his attention to the woman on his other
side, leaving the beautiful Hedy pretty much
alone.
After dinner was over and the guests assem-
bled in the drawing room, he still seemed to
prefer the company of this other woman. Pres-
ently, Hedy went home.
But she needn't have been jealous, if, indeed,
she was, because her "rival" was a married
woman, notably in love with her husband —
Dolores Del Rio. And we happen to know that
she and the young man were discussing South
American politics!
Pay-as- You-Go Miracles
WE'VE just come to the amazed conclusion that
Hollywood miracles are not confined to those
which appear on the screen. Not by a jugful!
Having heard of a couple of private miracles
performed recently, we've been doing a little
scouting and have discovered many others on
tap, so to speak, just waiting for someone to
say the word and, of course, pay the price . . .
yes, miracles do come high.
One miracle to be supplied by a certain
Hollywood firm for the asking — and for the pay-
ing— is the installing of a portable dance floor,
any size, any place, in less than a day's notice.
So, if a hostess is going to have a garden party
and at the last minute decides to change it into
a tea dansant, all she has to do is call up this
certain firm and the floor is hers.
Another miracle available and particularly
nice for an outing takes the form of a kitchen
on wheels which, manned by expert cooks, will
go anywhere and produce any kind of a repast
on a moment's notice.
Another firm will supply, in practically noth-
ing flat, a tent which will fit your particular
tennis court, making it into a pavilion for
parties. Still another guarantees to deliver box
You can take our word for it, It's love, says Cal on these pages
about little Annabella and No. I Screen Hero — Ty Power
lunches in any number and to any spot in just
the time it takes a car to get there.
Representatives from a dressmaking concern
will, when called, arrive with bolts of yard
goods and, when milady has selected material
she likes, will create a gown for her in half an
hour. A certain Hollywood millinery estab-
lishment will supply a hat in much the same
way and with the same speed. There is also
a concern whose sole business is to come and
clean up after a party, bringing along a handy
man to mend furniture, obliterate cigarette
burns and spots and repair other damage done.
These various service establishments do little
advertising. They rely on that best of all pub-
licity, the word-of-mouth variety. Several are
offshoots of others whose business it is to supply
strange service and strange properties to the
motion-picture industry, itself.
And Hollywoodites, used to miracles in the
business, call upon them as casually as you or
I would telephone the grocer and order a can
of tomatoes.
Age, 72
*IXTY- SEVEN years is a long time to have
been an actor, you might think, but Harry
Davenport (he played the judge in '"You Can't
Take It with You" and did that "jitterbug"
dance in "The Cowboy and the Lady") doesn't
agree. Seventy-two and still able to swing a
mean golf club and to steal a scene when he
has a mind to, he looks forward to a good many
more years before the camera or behind the
footlights.
The Davenport family has been in the theater
for generations. Harry's great grandfather was
Jack Johnstone, the famous Irish comedian dur-
ing the reign of George IV. Johnstone's daugh-
ter married Fred Vining, another famous actor
in Great Britain and Ireland, and their daugh-
ter, Fannie Vining, who followed in her parents'
footsteps, was Harry's mother. He is also re-
lated by marriage to the Drew and Barrymore
family.
He began his own theatrical career at the age
of five in "Damon and Pythias" at the old Chest-
nut street theater in Philadelphia in 1871. He
had one line to speak: "I want to be a soldier
like Pythias." After it was over his father, who
was manager of the theater, gave him a five-
dollar gold piece dated that year, which he
never spent and now keeps in a specially made
leather case as his most cherished possession.
Since that first appearance, he has played, he
thinks, in half the theaters of the United States
and also in innumerable motion pictures, silent
and talking. His last sojourn in Hollywood
began two years ago. Since then he has ap-
peared in thirty-four pictures: has had every
kind of a part, he says, from a beachcomber to
Joanie's got a beau — it's writer
Charles Martin who's squiring La
Crawford to previews these days
— well, to the Judge in "You Can't Take It with
You." It was in that role that he really made
a name for himself. Frank Capra had tested
a good many actors for it, but when he saw-
Davenport's test, it was all over. Harry got the
part and turned out to be one of the hits of the
picture.
The role of Merle Oberon's "jitterbug" uncle
in "The Cowboy and the Lady" followed. Now
he is appearing in "Juarez."
Harry lives in Hollywood with his two sons,
Arthur Rankin, under contract to 20th Century-
Fox, and E. L. Doherty, and his two daughters,
Kate and Fanny Davenport. His actress wife,
Phyllis Rankin, is dead. While Arthur is the
only member of the family who has a contract,
the others work in pictures regularly . . . none,
however, with more gusto than Harry himself.
Rhapsody in Blue
HE suppose it could only have happened in
Hollywood. Anyway, the other day a Holly-
wood automobile dealer called around at Lo-
retta Young's with a brand-new car and a
photographer, ready to photograph Loretta
with the car for a beautiful color layout —
object: advertising.
But immediately a fly appeared in the oint-
ment, despite the fact that complete arrange-
ments had been made in advance. The car was
a blue car; Loretta had elected to wear a blue
costume and the two blues didn't "jibe."
"Won't you change your dress, Miss Young?"
the photographer asked.
But despite the fact that Loretta was to have
been given the car as reward for her endorse-
ment, she reneged.
"I just don't want to bother," she said, sweetly.
Crazy? Well, maybe. But, after all, her in-
come is up in those brackets where to have
received such a gift would have cost her S300
in taxes.
Steam Story
lES, directors do have their trials and tribula-
tions. And they take various means of letting
off steam.
We can't mention names, but we heard this
ourselves during the making of a very impor-
tant picture at a very important studio.
It was a love scene between two very impor-
tant stars and it was going badly. The hero
was okay, but the heroine, never noted for her
dramatic talent, didn't "give" worth a hoot.
"You're so lovely. You're so beautiful.
You're all a man could dream of . . ." Over
and over again, the hero thus avowed his love
and over and over again his words met a wooden
reception.
"Rehearse it again!" the director snapped.
They did. Then it was we heard the direc-
tor muttering to himself in unison with the
lover. He was saying: "You're so terrible.
You're so lousy. You'd send a man into D.
T.'s. . . ."
Sorry — but we can't tell you who!
Toto
THEY'VE insured Terry for $10,000 at Metro-
Goldwyn-Mayer, which is a pretty high figure,
considering Terry is just a dog, and a dog who
never won any blue ribbons, at that. Just the
(Continued on page 90)
Angle on a Triangle
WE had lunch with the two feminine members ot one of
Hollywood's newest and most modern triangles last
week . . . meaning Ann Sheridan and Margaret Lindsay.
Our date was with Ann, but Margaret happened by and, on
Ann's invitation, she joined us. The third member of the
triangle, Eddie Norris. formerly Ann's husband and now
Margaret's boy friend, was absent but he was discussed
with disarming usualness by both Margaret and Ann.
It seemed that Margaret and Eddie had been invited to
become members of a new Beverly Hills badminton club and
Margaret being a thrifty lass, as Hollywood beauties are
wont to be these days, was wondering if it would be necessary
for them both to join, since members can always take guests
to tournaments, parties, meetings and such.
"I shouldn't think you would have to join if Eddie is going
to." Ann said, practically. "Eddie can always take you."
"Well—" Margaret looked doubtful, "perhaps lie wnrid
like to take someone else once in a while."
But Ann came back promptly. "Not if what I hear he
thinks of you is true," she said. "He thinks you are the Ooe
and Only." The clear, direct look she gave Margaret was
as friendly as though she. herself, were practically a stranfer
to the young man in question.
Funny thing about the handsome Eddie . . . durimj the
time he and Ann were married she got all the screen breaks
and he nary a one. But almost simultaneous!) with their
divorce his luck picked up and he is at present doing fine-
as you will realize when you see the good part be has in
20th Century -Fox's "Tail Spin."
YOU CAN'T GET AWAY WITH MURDER-Warners
I l n even half of Warner Brothers'
• pictures you cannot get away from thinking
moodily that this studio is in a rut. The question
is, what will they do when they have run out of
U. S. prisons? Once more Humphrey Bogart is the
id killer, busily doing a Fagan with Billy
Halop. Billy thinks it's fine to learn the stick-up
racket until he sees murder done. Then he wants
to quit, finds Bogart won't let him. Since it is a
current literary rule that all slum kids who Go
Wrong must have a pure sister to weep for them,
Gale Page has a role in this. More, she has a ro-
mantic interest, Harvey Stephens. Harvey almost
gets stuck with a murder rap, so you can see poor
Miss Page has a bad time.
* TAIL SPIN— 20th Century-Fox
I OU will want to see this for its novelty and for
its breath-taking speed thrills, although, without
these selling points, there would not be much pic-
ture. The film deals with the girls who slave to
compete with rattletrap ships in the Powder Puff
Derby — women's air races, to the multitude. After
several reels exploiting the perils and sacrifices of
Alice Faye, Nancy Kelly and Jane Wyman, up pops
heiress Constance Bennett, who brings her special
plane to the Derby — not for the money, but to show
the man she loves (Kane Richmond) that she has
courage. There is a beautiful love story between
Miss Kelly and Edward Norris; Joan Davis and
Wally Vernon work at starchy comedy. Alice Faye
has a poor role, but manages to survive.
THE NATIONAL GUIDE TO MOTION P I C T U
• YES, MY DARLING DAUGHTER— Warners
HEREWITH an hour's swell entertainment. Taken
from the highly successful stage play, "Yes, My
Darling Daughter" is meant to be a satire on the
freedom with which women live their lives these
days, but it is done with such rollicking humor and
pace that you are likely to forget its social message.
Which is ju.st as well.
Priscilla Lane, giving just about the best per-
formance of her short career, plays the daughter
who has reacted too completely to her liberal moth-
er's teaching. The mother (Fay Bainter) used to
be a suffrage crusader when she wasn't having an
affair with a poet. But, now that she has married
a banker, Fay is horrified when Priscilla calmly de-
cides to go off on a week end with Jeffrey Lynn.
The girls intentions are of the social experiment
order, but the situation makes for dialogue with a
bawdy leer. Everyone in the family, including
Granny May Robson, much-married Auntie Gene-
Tobin and, finally, Papa, find out what is go-
ing on. Papa sets off to stop the debauch. Every-
one else starts out to warn the kids except Granny,
who has other ideas.
Jeffrey Lynn is completely charming as the nice
young man who loves Priscilla but thinks her fam-
ily is a rum lot. If you will notice the love situa-
tion is reversed throughout, even to the scene in
which Priscilla asks Jeffrey if he wants to run back.
Ian Hunter splutters well as the father and Roland
Young. Fay'i poet, wanders through it all with one
e\ ebrow happily raised.
* STAGECOACH-Wagner-United Artists
JOHN FORL, who did "The Informer," once told
this reviewer that the future of motion pictures lay
in filming the story of simple, down-to-earth hu-
man beings. In this Western "Dinner at Eight,"
this "Grand Hotel" on wheels, he does his best to
sketch the portraits of nine people who, sometime
in the last century, meet and face treachery during
a forty-eight hour trip in a stagecoach. Thus, with
the magnificent if stark scenery of Arizona as a
background, you get not only a roaring Wild West
movie but a dramatic tale, with sustained action
and few idle moments.
The characters are of widely different mettle.
Louise Piatt, a refined young wife from Virginia;
John Carradine, a gambler; Claire Trevor, as the
dance-hall girl escorted from a frontier town by
women reformers; a doctor who drinks too much,
played by Thomas Mitchell; stern U. S. Marshal
George Bancroft; Tim Holt, a code book lieutenant;
and Berton Churchill, a banker tempted by his last
$50,000 deposit. These, with a whiskey drummer,
make up the passenger list of "Stagecoach." The
group is joined by John Wayne as a sinewy son
of the plains who has broken out of jail in order
to end a long-standing feud and finds first romance
in the process.
This is a fine break for Claire Trevor and she
uses it to advantage. Wayne is attractive and sin-
cere. Production and photography are excellent
and the supporting cast follow Ford"s direction with
ease — but final honors must go to Thomas Mitchell.
* CAFE SOCIETY— Paramount
I HE fashion of hysterical fighting between lovers is
still going strong, apparently. Anyway, this hectic
comedy is just one long series of battles between
Madeleine Carroll and Fred MacMurray. At least,
you never worry about their meaning it, because
you know that when people earnestly hate each j
other they are quiet and deadly when quarrelling.
The story is built on the controversial premise that
all cafe society is as dull as junket, a social strata
composed of females with ignoble ideas and of men
without any ideas at all. Thus, you see Miss Car-
roll as an eye-filling but misguided dish, who is the
leader of cafe society. She decides to marry ship
reporter Fred MacMurray, just to prove she can
keep the gossip columns newsy.
This seems like a pretty inconsiderate motive
when you take a look at the stalwart handsome
Fred, but let that pass. He discovers all finally and
is pretty sore. The first fight — a humdinger — comes
at this point. Then Madeleine's grandfather per-
suades the couple to make a show of enjoying their
marriage in order to silence the gossip and to this
the young people agree. They do try. It is only
that every time they go out in public they disagree
about something and start another battle. Mean-
while, Fred has kept his interest in Shirley Ross, a
singer whom he has helped.
All the players have a good deal of vitality, which
they certainly need and the picture hops from scene,
to scene with very few dull moments. You will get
a good laugh out of this, in any case.
52
FOUR GIRLS IN WHITE-M-G-M
BOY SLAVES-RKO-Radio
KING OF THE TURF-Small-United Artists
HOLLYWOOD seems incapable of making a picture
just for the fun of it. Even minor efforts, like this,
must make a plea for something. "Four Girls in
White" pleads with medicine to stop trying for the
big dough and start worrying about the health of
the poor. In this case there's an amusing, if remin-
iscent story. Florence Rice plays a shrewd young
miss who takes up nursing solely for the purpose
of getting a rich husband. She hooks a famous
surgeon, only to be disappointed in him because
his ideals keep him in a $5,000 a year job when he
could be getting the hypochondriac trade. An-
noyed, Florence goes after a playboy, but loses him
to her sister. This makes Florence think. Can she
Redeem Herself with Alan Marshal, the surgeon?
HERE'S as dismal a preachment as ever emerged
from Hollywood — or anywhere else, for that matter.
If you're an inveterate reformer and are wallowing
in the current run of pictures which make a point
of depicting the unfortunate, you'll probably love
this. With relentless, cold anger it chooses the deep
South as locale and paints a picture of child labor
as it is supposed to exist there. Fine technique gives
the film good rating as a cinema study; Ann Shirley,
James McCallion and Roger Daniel all do beautiful
work in morbid characterizations. But the story is
not there, nor is there a high spot for relief. Maybe
if this were used purely as humanitarian propa-
ganda it might do some good, but any idea of en-
tertainment is sacrificed to realism.
I HE long arm of coincidence is practically pulled
out of its socket in this depressing race-track story.
Adolphe Menjou, cast as a bum, is in a boxcar on
his way to a track when he stumbles upon Roger
Daniel, a young boy. Now, Menjou used to be a
pretty respectable man, so Roger talks him into pull-
ing himself together. The two buy a horse, it wins
a race and money rolls in. Then what do you think
happens? Roger turns out to be a runaway and his
mother, Dolores Costello, wants him back. And who
do you think Dolores is? Why she's Menjou's ex-
wife. Roger, what of little Roger? He is torn be-
tween two loves; but Dolores has a plan. If you see
the picture you'll find out what it is. It all seems
like a Rooney-Beery set-up.
SAVES YOUR PICTURE TIME AND MONEY
THE BEST PICTURES OF THE MONTH
Ambush
Gunga Din
Idiot's Delignt
Made for Each Other
One Third of a Nation
Cafe Society
Honolulu
Let Freedom Ring
The Mikado
Stagecoach
Tail Spin
Yes, My Darling Daughter
BEST PERFORMANCES OF THE MONTH
Cary Grant in "Gunga Din"
Victor McLaglen in "Gunga Din"
Norma Shearer in "Idiot's Delight"
Clark Gable in "Idiot's Delight"
Charles Coburn in "Idiot's Delight"
Madeleine Carroll in "Cafe Society"
Fred MacMurray in "Cafe Society"
Eleanor Powell in "Honolulu"
Gracie Allen in "Honolulu"
Nelson Eddy in "Let Freedom Ring"
Carole Lombard in "Made for Each Other"
Jimmie Stewart in "Made for Each Other"
Lucile Watson in "Made for Each Other"
Nancy Kelly in "Tail Spin"
Claire Trevor in "Stagecoach"
Thomas Mitchell in "Stagecoach"
Priscilla Lane in "Yes, My Darling Daughter"
Jeffrey Lynn in "Yes, My Darling Daughter"
Fay Bainter in "Yes, My Darling Daughter"
* LET FREEDOM RING-M-G-M
I HIS is the picture in which Nelson Eddy beats up
Victor McLaglen in a fist fight. That alone should
be enough to make you spend your money at the
box office. But there's a lot more: once again, as in
"Jesse James," the railroad plays the villain.
Nelson probably will gain new fans through his
portrayal of Stet-e Logan, who wages a winning fight
for the ranchers against the suave villainy of Ed-
ward Arnold, shyster promoter, and his henchmen.
It's a tale of the days when the West fought, without
guns or banners, the eternal struggle against op-
pression and won for another generation the gift of
simple liberty. There is music, of course, but al-
ways motivating to the story. Nelson, it seems, has
been recalled from school to help save the railroads
from snatching right-of-way; resorting to trickery,
he pretends to ally himself with Arnold and thus
alienates his father. Lionel Barrymore, and his
sweetheart, Virginia Bruce. After much stirring ac-
tion the piece reaches its climax with the fight be-
tween Nelson and McLaglen.
The latter is particularly pleasant as the lusty Irish
railroad foreman and contributes some comedy mo-
ments with Charlie Butterworth. who is a barroom
pianist and possesses an iron jaw. After the long
run of MacDonald-Eddy musicals, you may have to
get used to Nelson in this type of film, but he adapts
well; and you will like the strong blend of drama,
music and action.
The songs with all male voices are highly effec-
tive, particularly "Dusty Road."
• MADE FOR EACH OTHER-Selznick-U. A.
lOR the first three-quarters of its running time this
is one of the finest pictures made for years in Hol-
lywood. It paints a magnificent portrait of two un-
exceptional, real people in the details of their life
together, their problems, their happiness, their small
miseries. With kindly touch and deep understanding,
but often with brutality, it tells their simple story.
Then, quite suddenly, the touch is lost, the plot goes
wild and so does the screen. You are confronted
with melodrama. There is a dying child, a mercy
flight through a storm, a parachute jump and Carole
Lombard prays in a chapel. Heaven knows, she
does it well. But you must try and forget about this
finale. Instead, give all your energies to the section
that is great.
Jimmy Stewart plays the boy, a young lawyer do-
ing very badly, who meets and loves and marries a
girl suddenly and brings her home to a small apart-
ment in which his mother must also live.
She is a bitter woman, nags her daughter-in-law
and gets unbearable when a child is born to com-
plicate things.
Carole is proud of Jimmy and talks him into ask-
ing his hard-bitten boss for a raise. Instead, he gets
a wage cut. Climax comes with a heartbreaking
New Year's Eve scene in which the young couple
decide to call it quits. Then comes word that the
baby has pneumonia. Neither Stewart nor Lombard
has ever given a finer performance. Lucile Watson
portrays the great mother-in-law of all time.
(Continued on page 93)
53
i
^v
'»»
M
.^r
My, my,
went on
1
V
such gossiping as
over the "Wuthering
Heights" wedding scene with
»David Niven and Merle Oberon!
An innocent pipe caused
grief aplenty for "Sherlock
Holmes" Rathbone in "The
Hound of the Baskervilles"
New British invasion hits Holly-
wood; sound stages reek with
//raw-thahs// as England's lads
and lassies take over with a bang
BY JACK WADE
m
HERE come the British with a bang, bang!
Not since the Oxford accent invasion
after talkies came in has Hollywood gone
so suddenly and sensationally English as in the
first merry months of nineteen hundred and
thirty-nine.
First of all, Vivien Leigh, a strictly tea-and-
cakes girl from the Old Country, picked off
Scarlett O'Hara in "Gone With the Wind" — the
prize part that almost touched off another
American Civil War — and Leslie Howard got
the job of Ashley Wilkes. Clark Gable is still
Rhett Butler — but everybody's pretty disap-
pointed Anthony Eden couldn't get around to
taking a crack at it on his recent American visit.
Then the movie critics got together over a pot
of tea and named the ten best pictures of the
year as if London were the movie capital in-
stead of Hollywood. And the star sensation of
the hour is Lambeth Wendy Hiller, the Cockney
Charmer of "Pygmalion."
So we're not at all surprised to find the Holly-
wood sets simply reeking with "rawthahs" and
■
reallys" as we make our studio rounds this
lonth. In fact, on the first one, "Wuthering
leights," at Samuel Goldwyn's drama factory,
/e find the entire cast, elite and extras, His
Majesty's loyal subjects. The only thing Amer-
:an about the whole place is Sam — and he's
porting a Bond Street tailoring job. But he's
till murdering the King's English!
You have to hand it to Sam Goldwyn at that.
le may pull a grammatical nifty every now
nd then, but he's got Jimmy Roosevelt and
Iso courage and a sense of taste that makes his
tiovies right — or else.
We wander through some of the most meticu-
ous and lavish sets we've seen in months — all
aider one roof. These sets are as English as
he actors who make up the cast of "Wuther-
ng Heights." Everything keys the story per-
ectly.
Far be it from us to try to condense the mas-
erpiece of Emily Bronte into a couple of
entences, but if you're weak on your English
iterature, you should know the tale is about a
anded English family and how they grew.
A trail of rice outside the stage door warns
is it's a wedding scene we're about to witness,
hside, a venerable, ivy-clad church set con-
irms it. And when we see Merle Oberon — our
jarticular British weakness — demurely ex-
:hanging vows with David Niven, we feel a de-
eded urge to kiss the bride!
No chance, though, so we revel from afar.
As the rector starts to make David and Merle
one, we can't help thinking what a swell couple
Merle and David would make in real life. We
idly wonder if they might not be thinking the
same thing. David is so nervous. After a
couple of false starts, he smiles, "I've never
been married before, you know." He looks at
Merle and Merle looks at the floor. Not too
long ago they were one of Hollywood's most
romantic couples.
And to top it off — sitting on the side lines
just visiting but watching intently is the man
who rumor says is Merle Oberon's real hus-
band-to-be, if they aren't already married,
Alexander Korda, the British producer. Won-
der what he thinks, watching the girl he loves
and the man she loved pledging themselves to
each other?
The cameras grind on. Business is business
and making pictures is Hollywood's business —
not reading minds and hearts. But we sigh.
riFTY years later, but only a few miles away,
we carry on with the British at Twentieth Cen-
tury-Fox, "The Hound of the Baskervilles" and
another all-English cast. Not a citizen of the
U. S. A. gets a break in Sir Arthur Conan
Doyle's famous bloodcurdling exploit of that
Genius G-Man of the nineties, Sherlock Holmes.
The picture's been on for days when we ar-
rive— but still they're shooting the very first
scene! And all because Basil Rathbone picked
up a straight-stem pipe to smoke in the scene
the first time they shot it. Sherlock was strictly
a curved-stem man.
Chief, a giant Great Dane, is the Hound. He
tips the beam at a hundred and forty pounds,
his keeper tells us, which is why he got the
job after fifty dogs, including a few real hounds,
were tested for the part. The Hound, you'll
recall, was a pretty ugly customer, with glow-
ing eyes and dripping jaws — so you'll never
recognize poor old Chief in the movie. They've
rigged up a mask with phosphorus peepers to
make him a sort of canine Karloff.
Plot stuff in "The Hound of the Baskervilles"
is simple but sinister. A ghostly curse about a
canine spook who gobbles up bad Baskervilles
with his Vita-Bone hangs over the ancient
house. A renegade B'ville revives the legend
with a real mutt to cheat upstanding young
Baskerville Richard Greene out of his inheri-
tance^— and Wendy Barrie. Catch on? Into this
little family spat Sherlock Rathbone intrudes
his glass pipe and touring cap and pretty soon
it's — "elementary, my dear Watson!"
We thought we'd get away from the British
influence for sure at Hal Roach's. No studio
in Hollywood is more plain and unpretenti-
ously American. But it's no use. "Captain Fury"
is all Empire and largely British in cast, with
55
len and June I
Tlu Hood in
Australia But It'i and a part
of history that both England and some
ha would much rather fo:
A 1 1 :.• Au- trails '■■ land's
Devil's Island for political i nvicts,
Dvicta and
worked then like si ives Hopping back to this
Ingloi ptain Fury" dramatizea the
dauntless Irish exile to free his fellow
The realism of Hollywood's set architects
minute we are
outside in the California sun. the next deep In
ij the Australian bush.
. in a long curly wig and tattered
r jerkin, is talking the scene over with
Roach as we approach. ("Captain Fury" is
all Roach family. Hal himself is directing it;
in, Hal, Junior, is the assistant director;
his daughter Margarel has a small part).
■ hods yells, "Hey, Butch!" in the midst
of all this and the door of a dressing room pops
open and June Lang pokes out her red head.
The scene we watch is on the Bopeep side —
with June in a ragged dress (she's a poor set-
tler's daughter) leading two woolly lambs to
the stream for a drink. There Brian, dodging
the law through the heavy bush, surprises her
— and love blooms.
June Lang is so beautiful, even in rags. One
thing we always notice about ragged movie
heroines: despite the sometimes sad condition
of their wardrobes, their coiffures are always
very much in order and uncannily up-to-date.
"All right." says the cameraman. June ad-
vances, with the two baby sheep, up to the
brink of the stream. She's supposed to give
them a drink, but apparently the lambs have a
bigger and better idea. They dive right in the
water! "Cut!" yells Roach. "Dry 'em off, and
we'll do it again."
But the next time — up they come to the creek
and — splash! In again! There's another dry-
ing session and another try. Same result. Two
more. Same.
PHOTOPLAY
tAfllA.
BY G WENN WALTERS
Edith Head, Paramount'* designer, created this gay Easter Sunday frock
for Dorothy Lamour's personal wardrobe. Of blue silk jersey, it is short-
sleeved with softly draped blouse and skirt. An old-fashioned stole banded
with dyed blue fox is chic substitute for a jacket. A cluster of carnations
tops the matching jersey chapeau which is an original Robert Galer model.
The lovely Lamour is currently appearing in Paramount's "Man About Town"
NATURAL COLOR PHOTOGRAPHY BY PAUl HESSE
The problem of what to do next was paralyz-
ing the Roach studio and staff as we leave for
Paramount, where even Bob Burns has gone
white-tie-and-tails and — that's right — British!
DOB'S current epic, oddly enough, is called
"I'm From Missouri." That alone seems to us
a form of native state treason, after all the
money Bob has gathered in being a professional
Arkansan. But when we learn that Bob in-
vades May fair society in the picture, and actu-
ally discover him on the set in the very act
of doing same — well, it's a sad day for Van
Buren and Grandpa Snazzy — is all we can say.
"I'm From Missouri," our Paramount infor-
mers confess, is a step forward in the cam-
paign to place the mantle of the late Will Rogers
on Bob Burns' rawboned shoulders. There's
to be no bazooka-blowing foolishness in it and
none of the Burns stock of rural relations jokes.
Instead, Bob is advanced in this picture as a
character actor, plopped in polite surroundings
where his earthy wit and character shine through
as good hoss sense, d la the old Will Rogers'
formula.
Paramount is having a slight production
breather before plunging into the busy season,
so we head down the street for Columbia.
Columbia is definitely up and at 'em this
month with an aviation special called "Plane
No. 4." Don't bank too much on the title, how-
ever, as they'll probably fix up one with more
punch.
We decided to take in the two big sets. One
is in the studio with Cary Grant the attraction.
The other is out on location with Jean Arthur
the lure. More and more we find the studios
doubling up on their shooting because, as ever,
the biggest expense is — time.
We find Cary, an imposing-looking hombre
with a wide-brimmed planter's hat, ducks and
(Continued on page 78)
Good old American pioneer patriotism has a fling in "Let Freedom Ring," with (left to right)
Edward Arnold, Lionel Barrymore, Victor McLaglen, Nelson Eddy and Virginia Bruce
,
•>~
&K
■ : M
I
Jean Arthur (opposite page) wears this
spring picture gown created in mood of
yesteryear by Irene in ColumbiaV'Plane
No. 4." The apple-green satin bodice,
so snugly fitted, boasts a strapless de-
colletage which is edged with starched
white lace. The bouffant skirt, of sheer-
est green organdy printed with apple
blossoms, falls over a crisp green taf-
feta slip — the bows that march from
waist to hem are of green satin
Schaftr
Jeanette MacDonald's bright blue her-
ringbone tweed jacket stresses the im-
portance of short-sleeved tailored jack-
ets for wear with frocks or skirts. Left,
Jeanette wears hers over a black silk
crepe pleated tailored frock. Her
natural Toyo straw hat is banded with
black grosgrain ribbon and pierced
with a multicolored quill. Suede, a
pet of winter's sport fashions, con-
tinues into spring. Jeanette's moss-
green suede frock with front button
closing (below) has a contrast dubon-
net chiffon scarf that matches her
suede hat. Short gloves, bag and shoes
of rust calfskin complete this ensemble.
Miss MacDonald is currently appear-
ing in M-G-M's "Broadway Serenade"
EaJ)
59
H[
1
The influence of the middle Nineteenth
Century costumes created by Natalie
Visart for Paramount's Cecil B. DeMille
production, "Union Pacific," which co-
stars Barbara Stanwyck and Joel Mc-
Crea is reflected in these two models
posed by Barbara Stanwyck. Left, Bar-
bara wears a dinner dress which is al-
most a duplicate of the I860 costume
shown in the above insert (from the film,
"Union Pacific"). The blouse of black
challis sprinkled with pink roses is an ex-
act copy — the skirt of black silk jersey
has bands of green grosgrain ribbon in-
stead of braid as on the costume — the
shamrock motif on the wide leather belt
is studded with green stones instead of
nailheads. Natalie Visart designed the
smartand unusualdresses shown on these
two pages exclusively for Photoplay
■ Waiting
Barbara's navy blue and "Pacific" blue
gabardine sports dress was copied and
inspired from the "rough and ready"
ihirt worn by Joel McCrea in "Union
Pacific." The culotte skirt is joined to
me blouse by a navy leather belt which
doses with a large monogrammed silver
buckle. Barbara's blue felt crush sport
lat was copied, too, from Joel's
iL YaJL&L-
A chic and practical "basic" spring jacket-frock of
black sheer with contrast trim of white silk braid
smartly selected for $29.95. Anita combines it with
patent heelless, toeloss pumps ($6.50) and bag ($5.00),
black silk jersey toque ($10.00) and suede gloves
1$4.50). The accessory total is economically shared
>etween three costumes — the one above and the char-
treuse and striped models shown on the opposite page
Anita's watermelon crepe jacketed evening gown ac-
cepts both formal and informal invitations. The bodice
is tucked to a low waistline to match the sleeve treat-
ment of the brief bolero jacket. This gown was
discovered for $19.95 — the gold sandals for $6.50
FOR YOUR BUDGET
SMARTLY POSED BY
ANITA LOUISE
currently appearing in
"The Little Pr i ncess,"
a 20th Century-Fox production
starring Shirley Temple
PHOTOGRAPHY BY KORNMAN
62
Hi
left), shoulder carnation cluster and gloves —
she picked up the three for less than $10.00
A sheer woolen frock boldly striped with
yellow, violet, purple and black, magnifi-
cently selected for $22.95. Anita wears it
with her basic black accessories and adds
her gold necklace and bracelets as final
fillip. On sunny days the white hat and
gloves shown in the photo on the left
replace the black ones worn here
Anita's dressy frock of chartreuse crepe —
practically "a steal" at $19.95 — features a
draped blouse, extravagant shoulders, grad-
uated belt, skirt pockets and shirred fullness.
Anita closes the neckline with her novel rhine-
stone Zebra pins, but it may also be worn
open in a deep V. The toque, gloves, bag
and shoes that complement this frock are
the same as those worn with her basic frock
Anita selected these budget values at Josephy,
Inc., 268 N. Beverly Drive, Beverly Hills,
California. For further information on any
of these clothes, write Josephy, Inc., direct
63
-
vsuTi
,
*t %
£'
U
% ^H
V
*€%
S^EW
t*\.
it? ^
:^3
L\
proiopuv
r ASH ION
THIS TAG IDENTIFIES
AN ORIGINAL PHOTOPLAY
HOLLYWOOD FASHION
LOOK FOR IT
,V
Jacket dresses are a "must" in every spring ward-
robe. Linda Winters, appearing in Columbia's
"Blondie Meets the Boss," poses in four striking
Jeanne Barrie models. A wee shirred bolero
(above, left) tops a short-sleeved frock of
matching navy sheer crepe. The flowers on the
shoulder repeat the coloring of the pink kid
trim on the patent belt. Linda wears pink patent
sandals — a new Hollywood contrast shoe vogue.
The frock also available in black with white.
Here's a frock (center) that presents the new
spring color contrast — cork with black. The
cork-colored, Italian-quilted, zipper-closed, fitted
jacket interestingly contrasts a black short-
sleeved frock with V-neckline. Also cork and
navy, and chartreuse or Capri blue and navy.
Right, another bolero frock of black sheer. The
bodice of the short-sleeved frock is a froth of
dainty embroidered organdy edged with Val type
lace. Below left, navy sheer smartly accented
with white. The high neckline of the short-
sleeved frock is banded with Angel pique —
the fabric of the fitted jacket features all-
over diagonal tucking. Also in black with white
PHOTOGRAPHY
Y CROWLEY
PHOTOPLAY
64
"
Dolores Casey, appearing in Paramount's "Cafe
Society," and Joyce Mathews, of the cast of
Paramount's "Boy Trouble," bring you the newest
felts and straws of the spring season. Miss
Mathews (top, left) models Byron's "Saucebox,"
a casual hat that's always good with suits.
Note the new stovepipe twist to the crown that
stamps this model "Spring '39." It is of soft felt
with a contrast band. Miss Casey (top, right)
poses in Roxford's "Little Dipper" — a tiny little
sailor designed to be dipped at a dizzy angle. In
beige garlanded with surrealist felt flowers — a
gay little hat just right with the new beige back-
ground tweeds. Joyce smiles from under the
shadow of Byron's "Pastoral" (center) — a
rhapsody in the blue straw braid with the rustic
look that's going to be so good for town
this spring — it has a contrast grosgrain rib-
bon band trim. Dolores (below, right) wears
Roxford's "Bo-Peep" — a wickedly simple wide-
brimmed mushroom type hat in a natural, sewn
straw braid reminiscent of gingham pinafores —
a country-born fashion slated for town headlines
PHOTOGRAPHY BY WALLING
WHERE TO BUY THEM
The smart advance Photoplay Hollywood fashions shown here
are available to you at many of the leading department stores
throughout the U. S. right now. If you will write to the address
given below, sending description or clipping of the hat or gar-
ment, you will be advised by return mail where, in your com-
munity, the item or items may be purchased. These hats and
garments come in all sizes and in all popular shades. Address
your letter to —
Jean Davidson, Fashion Secretary,
Photoplay Magazine, 122 East 42nd St., New York, New York
YOU WILL FIND IN THE SHOPS
t'
\
r»
'HOTOGRAPHY BY EVANS
From Constance Bennett's own exquisite
wardrobe comes this smart afternoon en-
semble. The taupe crepe dress, simply fash-
ioned, depends upon the dirndl skirt, broad
shoulders and wrap belt for outstanding
style detail. A sable scarf, taupe gloves,
shoes and ostrich turban are stunning acces-
sories. Miss Bennett is currently appearing
in 20th Century-Fox's "Tail Spin." Her next
film will be made at the Hal Roach Studios
I
wt
THE
MOVIES
BY HOWARD SHARPE
MELVYN DOUGLAS found himself with
a wife before he remembered that he
had no job and no money. Like so
much that had happened to him — his early
break from home because he could not endure
the intense possessivness of his musician father,
Edouard Hesselberg; his attempt to join the
army at fifteen; the girls; the parties; the reck-
less thoughtlessness that was forever getting
him into trouble — this marriage was again an
act of impulse, and he was faced with the quick
and immediate problem of finding a way to
earn money for his bride and earn it quick. So
he shook off the spell of his recent joyous, un-
encumbered trip to Europe and entrained for
New York, a sobered young man in search of
work. He left Alice behind in Chicago.
Once before, briefly, Melvyn Douglas had
battered at Broadway's closed doors. He had
been too young. Now he knew more of the
Reckless haste, minor successes,
a new love, then fame and a calmer
philosophy — in other words, that's
the life story of Melvyn Douglas
theater, had friends, thought he understood the
technique of slipping through back doors rather
than approaching front reception desks with
foolish bravery.
Grand Central Station received him, un-
friendly, cavernous. He put up his coat collar,
then saw himself in a reflecting window and
caught the look of the outcast, the seeker, it
gave him — and turned it down again. He took
a deep breath and got his head back. That was
better. . . .
A friend was living in town at his fraternity
house. Melvyn stared down three redcaps, got
a good grip on his two suitcases and headed for
the subway. The friend was in. "I'll put you
up here, fella," he said, to his endless glory.
Peter Gahagan Douglas and his famous mother
The days went past . . . New York surged
with prosperity, with jobs and people to fill
them. They had all preceded Melvyn. Back-
doors, he discovered, were kept securely locked
and bolted. But he tried: he tried until the
afternoon when he came out of an agency, his
ears still hearing the regretful voice of the sec-
retary (Try us again — in a week, say?) and
stood vaguely, empty of thought, on the crowded
sidewalk. After a minute something clicked in
his mind and he knew a drink would taste
good. It was late.
A taxi took him to an address on Fifty-sec-
ond Street and after he had paid the driver he
looked at his change. There were a half dollar,
and a quarter and a dime and four pennies in
his hand. He looked at them curiously, remem-
bering the one very crisp dollar bill in his
wallet. Then he went on up the brownstone
steps.
There would probably be someone he knew
at the bar.
Inside, he found a booth and motioned to a
waiter. "Ask Tony if he's seen Steve today and
bring me some of that stuff you guys made last
night." Why are all speak-easy owners named
Tony? he thought. And why do you always
know somebody named Steve in New York?
Across the room a good phonograph played
the new Whiteman arrangement of "Song of
India." Carl Van Vechten came in, looked
67
day.
Mr! I left At his room
in the fraternity I i ■ itory in ■
when he- had finished it. went to
i .md began t.ikins; underwear and
.- of the drawer. He pulled
from under the bed and propped them,
i then. He opened the door.
:■ livery Utter, DOU '">>' said.
Mt 1 r a Long while at the en-
d it. The Hmlnfl of its
too good, too pat. It must mean
■ thing.
It did. 'I hope you've found a good spot,"
Alice had written, "because — not to be coy
about it or anything — I'm going to have a
SEVEN, pl< The tall man in correct
rfield and derby leaned on his stick and
I blankly at the grillwork side of the ele-
aboul the fourth floor he realized the
elevator boy was staring at him and grinning.
He turned. "Hi. Eberhardt," Melvyn Douglas
. from his little stool.
"It isn't possible!"
ire Retting to the seventh and that red-
head through wish fulfillment, I suppose?"
Melvyn said bitterly.
"But — why an elevator? The last time I saw
you in Chicago . . . you working off a bi
bet It's a personal problem, you se
"Oh."
"Here's the seventh. "
man stepped out, paused, then turned
and came into the ell vator again. "A quickie,
hmm?" Melvyn said.
"I'll ride down with you. Listen. Jessie
Bonstelle's casting for a show today. Why don't
you try her?"
"Bonstelle? She wouldn't see me."
"I get it. It's like that then. You don't
"I'll take a whirl at Bonstelle." Melvyn told
him. At the lobby he opened the door and
stepped out with Eberhardt. "I've got to go to
the locker and change first. Let you know
what happens."
"But the elevator?"'
Melvyn stopped and looked back at it.
"They're a dime a do
The receptionist guarding the door of Jessie
Bonstelle's private office was getting a little hys-
1 "No!" she shouted at Melvyn. "No,
no, NO! No more today! Look at this crowd
ahead of you — we won't be through with them
until midnight."
He took the electrically locked gate at a lope.
"Sorry," he called over his shoulder, "but I
haven't that much time." He had the door open
before the girl was out of her chair.
Bonstelle, listening with a look of quiet agony
to a reading ingenue, looked up with mingled
surprise and pleasure on her face. The ingenue
had been getting pretty bad.
"In the movies," Melvyn said breathlessly,
"you break in and after some hauteur and what-
does-this-mean they give you a job." He
waited, white with sudden panic.
"We'll skip the hauteur," she said after a mo-
The stage play, "Tonight or Never,"
brought Melvyn a new happiness; the
screen version, opposite Gloria Swan-
son, set him on the road to movie fame
ment. "I need a second lead. Read these sides,
if you will."
He took the script, amazed that his hand
didn't tremble. Ten minutes later Bonstelle,
smiling, said, "It's all right. You can stop look-
ing so doomed. I'm going to take you on."
WHEN he remembers that year now it comes
to him in three scenes, with blanks between,
like part of a motion picture. There was the
ride home with his wife and little son, from
the hospital. "I'm glad the show came to De-
troit." Alice had said. "New York is a rotten
place to go through this sort of thing."
"You were swell.''
She looked at him then and after a moment
she stared down at the infinitesimal red face
almost hidden in quilted satin in her arms. For
a moment he wondered whether she would
cry. But she didn't. She looked out the cab
window, her eves expressionless.
"Yeah" ....
There was the morning, weeks later, after
they had given a small party. He came into
the living room in his pyjamas feeling good,
clearheaded, and looked around him. No one
had remembered to open the windows the night
before, or turn the furnace off. A soft haze
of very stale smoke seemed to cling to the walls
and blur the colors of the furniture. There were
several coffee cups writh dregs and a glass with
a cigarette drowned and shredded in the bottom.
He pictured the party suddenly, saw the people
and heard their voices. Yawning, he remem-
bered the excruciating boredom of last night.
And suddenly, inexplicably, he thought, This
can't go on. It's not working out — we don't
even love each other any more. As he threw
open windows the idea of divorce came to him
for the first time.
I HERE was the scene, sharply outlined in its
simplicity, on the courtroom steps after the
divorce. "Good-by," he'd said. "We'll see
each other again, of course."
"Of course," Alice told him, with a polite half-
smile. He had seen her to the cab and given
a little salute with a limp hand as it drew away.
I have married a girl and lived jor over a year
with her and we've had a child, he thought as
he walked home. And it means as little as that.
Try as he would, he could find nothing to worry
about, nothing to be sorry for.
After a little he shook his head and put the
entire episode in the back of his mind — far back,
where it would be hard to uncover.
Convalescence from his first marriage cost
him almost two years out of his emotional life.
He emerged, in the late fall of 1927, well again:
really mature, at last, vitally ready for any-
thing. It was time to move again, find new
scenery. New York was his mood — dangerous,
exciting, magnificent. He went there, leaving
Bonstelle and her show, and he began to do
things with an intensity, a pace inevitable when
healthy energy and eager youth have been
smothered for three years.
Armed with letters — with one letter espe-
cially, to William A. Brady — he stormed all the
important producers' offices in two days and
wound up by signing a contract with Brady for
three years. That settled, he took an apart-
ment, visited a tailor, called up everyone he
knew to let them know he was in town, took a
deep breath and said to Manhattan: "Okay.
I'm ready."
He lunched, in company with attractive ac-|
tresses at the Algonquin and the Ritz and the
Plaza and the Brevoort and in innumerable!
hushed rooms with barred doors and stronger:
cheer than tea in teacups. He danced to White- !
man and Gus Arnheim and Ted Lewis on roof I
gardens and in supper rooms and at roadhousesi
on the Pike. He borrowed the Stutz Bearcat
of one friend or the cut-down Benz of another,
and drove across the Charles to Cambridge,
(Continued on page 88)
Ma/~</oe?a
CiAt/vErrt
says the
glamorous star of Paramount's
"Midnight." "That'swhy
beautiful skin is important. I
use LUX SOAP— it helps guard
against COSMETIC SKIN."
Skin must be soft
and smooth to pass the
THE EYES of love look close. How foolish to let
unattractive Cosmetic Skin spoil romance!
Lux Toilet Soap's ACTIVE lather removes dust,
dirt, stale cosmetics thoroughly — guards against
the choked pores that cause Cosmetic Skin :
dullness, tiny blemishes, enlarged pores. Clever
girls everywhere use Lux Toilet Soap, before
they renew make-up— ALWAYS at bedtime.
This fine soap guards the world's loveliest
complexions. Your skin
needs its gentle, protect-
ing care
9 out of 10
Screen Stars use
APRIL, 1939
69
nevera
year to see the
WEST
Glamour Girl Number 17,268
Golden
Gate Fair
4*4 mmantt.
ipdurd my '■'■vi, tmrJrnt,
»m I reaimre htanj in
Macim Bay
Grand
Canyon
• k* SantsFr II (V
-.^i Sattomat
Indian -
detours
piorationi, 'round quaint
Old Santa Fe. '
age- old puehlot and 110-
lated mountain nlUget
II
M
.iiM'<
Carlsbad
Caverns
. . . the Underground
Grand Canyon" of flMtfaV
eaitfn .\V» \frxno. »ith~
out j pee* in n;e, >jnrty,
and delicate coloring
Yosemite
Park
. . . majestic mountains,
Mf0M waterfalls, and
forett gtantt high up in the
California jifji
Famous Streamliners
. . . for WeMern travel, Santa Fe often the
votld'i largeit fleet of ttreamtined flyers
m Not only can you weave all these grand
travel experiences into your California trip
conveniently via Santa Fc, but you can do
it all lo economically during this great
Exposition Year!
For swift, comfortable travel to and from
California, Santa Fe offers El Capitan,
low-cost all-chair-car streamliner that whisks
between Chicago and Los Angeles in just
Mm; the Seoul, daily economy coach-
sleeper train; Super Chief and Chief, superb
all-Pullman streamliners; California Limited
and Grand Canyon Limited.
Then, in California, there is also gay new
Santa Fe streamlined service between San
Diego, Los Angeles, and Sin Francisco.
For romfltle ..'. " g a California
trip, tfni <um<ntt tii />•(■ Sjnla Fe, at the
tovrit pombteeott, /mi/ ma*t theeouponbtlow.
.iijhfr. PT M., Santa (-■ Si mm Unei,
1258 Railway [iichange. Chicago, III not *
Send picture book.eti on western travel, and far*
from - - -to- ................
Same ■ - - -
AJdreu
l>ut New York has much to learn from
Hollywood. F. us at a dollar
■ pair arc standard equipment on the
Hollywood glamour model. But the
high point of my introduction to the
Cinema City make-up was learn-
ing that you couldn't put on your mouth
merely by using a lipstick; you had to
brush, and you had to carry it
around with you at all times like an
itinerant house painter.
By the time I arrived at the studio
commissary for lunch the next day, I
was well on my way to being a Glamour
Girl. People turned to look at me. I
was impressed with myself.
1 visited around some more and was
delighted to find that everyone was ex-
tremely cordial and that everything
seemed to operate with a smoothness
that left one relaxed and aglow. The
whole setup reminded me of that of a
nice country club. But not for long.
The next morning signaled the end
of my relaxation. I began my daily
visits to the gym. One exercise was to
crawl about, mewing like a cat, then
to arch the back and bark like a dog.
I think that was supposed to develop
the body and the vocal cords at one
fell swoop. Anyway it was fun, and it
did me good. The instructor asked me
for a date.
I HE only trouble with having dates was
that I was so exhausted by the exercises,
the California climate and the change
of four hours in time — including an
hour for daylight saving — that I was
lucky if I could stay awake until dinner
time.
I did, however, have one date that I
had to keep, with the still -photograph
department of the publicity office. They
were going to take glamour pictures of
me. It seems that glamour pictures
have to be taken with very little cloth-
ing on the figure beneath the slinky
gown or negligee. That's to give plenty
of "umph" to the finished product. If
there's too much "umph," they can al-
ways resort to retouching the negatives.
Many a devout fan would be shocked
to see how much is sometimes lopped
off his or her cinema ideal before the
"stills" are released. Most stars will
not allow still pictures to be released
until they have personally marked them
for such retouching.
My main trouble was in trying to keep
the negligee closed while striking the
intricate poses demanded by the photog-
rapher. What I really needed was two
pairs of hands— one pair to pose with,
the other pair for clutching purposes.
I felt like an unwilling strip-tease
artiste.
The photographer told me, without
asking for a date, that the thing he
liked about me was my naturalness. He
claimed there wasn't enough of that
sort of thing in Hollywood.
"Still," he said, eveing me critically,
"your clothes and hats are very cute,
but they don't make you look like an
actress. As long as you're an actress,
you'd better look like one."
So he lent me his assistant, a young
woman of excellent taste, who knew
just what an actress was supposed to
look like with her clothes on. We went
shopping and I went into hock.
I supposed the only thing to do with
the clothes I had brought with me to
Hollywood was to give them to the
Salvation Army, but I decided against
it; if ever I found myself contractless,
they might come in very handy. They
were good clothes, mostly new. Their
only fault was that they weren't glam-
f Continued from page 25)
orous. The hats didn't have yards of
veils attached to them and the suits
weren't broad enough across the shoul-
ders. The shoes weren't tricky enough
and the dresses didn't have the sort of
bodices that accentuated the buzzooms
(pronounced b'ZOOMS) of their erst-
while wearer.
I HE new clothes corrected all those
faults, and what with the ministrations
of the Brothers Westmore on this par-
ticular Glamour Girl's face, and the
bodily improvement of hours of gym
work, the ugly duckling was at last be-
coming a swan.
Bill, the chief photographer, ap-
proved; so did others on the lot. It was
all a little confusing. If they had liked
me before, because I was myself, what
on earth was there to like about me
now? For I was an entirely different
person; I didn't even feel like myself.
But the crowning mortification came as
the result of prolonged, bitter discus-
sions: it was deemed necessary that I
wear breast pads. I was willing to meet
glamour halfway, or even further, but
such an artificiality as this seemed
fraudulent. It took much talk, the re-
citing of names of much more glamor-
ous ladies than I who wore them, to
win me over. I suppose it is all very
glamorous and necessary, but I am
startled still every time I look down in-
to my soup plate.
Bill said; "Very good. You look like
a Glamour Girl. Now all you have to
do is act like one."
"Do you think I ought to be the lan-
guid type?" I asked him. "Or should I
be the snooty type and practice look-
ing down my nose at the office boys?"
"Whatever you do," Bill warned,
"don't try to high-hat the office boys.
Today's office boy may be tomorrow's
producer!"
I had learned one of Hollywood's
cardinal maxims.
Bill told me I should have a full-
length mirror, in front of which I could
practice being graceful and alluring. He
showed me how to cross my legs when
I sat down so that they'd deliver the
maximum of "umph." He also taught
me how to stand arrestingly, always
holding — but lightly — onto something. I
couldn't help thinking of my childhood
training. Mother had always taught me
that it was unladylike to hang onto the
woodwork when I was supposed to be
standing erect. Doubtless she was
right, but now we were more interested
in glamour than in character.
"You've got good eyes," said Bill.
"They are, in fact, your best feature —
but you don't know how to use 'em."
Of course I had been seeing and read-
ing through them for quite some time,
but it seems that wasn't enough.
"When you look at people," Bill in-
structed, "don't just look at 'em; peek
up provocatively through your lashes —
whether they're your own lashes or
Westmores'. And you've got to look
interested, especially if the person
you're looking at happens to be a guy.
You've got to practice all this sexy stuff
in your everyday life; then when you
get in front of a camera, it'll just natu-
rally project itself onto the film. Be-
sides, when a guy buys you a meal, the
least you can do is make him think
you think he's wonderful."
I tried to follow that piece of advice.
I looked at dinner dates with sex appeal,
whether or not I felt any. I batted my
eyes over enchiladas down on Olvera
Street, over lobster thermidor at the
Brown Derby, over almond duck at
Tommy Wong's in Chinatown, and over
long strands of spaghetti at Travaglini's.
If you've ever tried to look sexy over a
plate of spaghetti you'll understand how
wearing it all was.
I FOUND (because I was told) that my
voice was much more effective if I kept
it low. So I went around feeling like
a coloratura soprano who has to sing
baritone because there didn't happen to
be any calls for coloraturas that day.
And my mouth wasn't so good, either,
it developed. I'd always been rather
fond of my mouth; after all, it was ?ny
mouth, and I liked it. But now they
told me that the teeth didn't set right
in the oral cavity; that I'd better see a
dentist, or a couple of dentists.
So I went and had my mouth stuffed
with plaster on two separate occasions.
And I didn't get any Federal funds to
carry on the work, either; I had to pay
for it all myself. Gals who work in
pictures get pretty good pay, to be sure,
but by the time they pay for clothes
and glamour and dentists and gym les-
sons, there isn't very much left.
Incidentally, while I'm on the subject
of money, I might mention the fact that
most of these six-months-option con-
tracts carry a six-weeks layoff clause.
In other words, the studio guarantees
you only twenty weeks' work out of
twenty-six. The six weeks layoff with-
out salary is a good idea if your figure
needs a little trimming, I guess, but I
don't have that sort of figure trouble,
and I'm crazy about steaks and baked
potatoes smothered in butter. And I
have neither the inclination nor the
ability to gold dig forty-two consecu-
tive dinners.
A
ND now back to the studio school for
lessons in acting. The director of the
school was impressed by my increased
state of glamour.
"But," he asked, "what's become of
the girl you used to be?"
I told him she had been sold down
the river to the money pots of Holly-
wood, which I considered quite a bon
mot.
He said: "Oh, have they given you a
raise?" Which was a good answer.
Day after day, in the school, I prac-
ticed all the things that go toward get-
ting one into shape to act in front of a
camera, without tripping over cables
and sitting in the director's lap, though
some cynics still claim that the latter
procedure helps a girl's career. We did
little scenes from plays and motion pic-
tures and learned a lot. But I won-
dered when on earth I was going to
be a motion-picture actress.
I wondered so hard that it must have
taken on the substance of a prayer, for
at last somebody answered. I was given
a small part in a big picture.
We went on location, which was fun.
I was treated pleasantly, but with little
deference.
It seemed to me that they'd never
get around to shooting the scene in
which I was to make my debut as a
motion-picture actress. I was like a
child waiting for the interminable hours
of Christmas Eve to pass so that I could
get at my toys. I read over my little
piece of script four million times. It
called for me to run down a flight of
steps, pause, for a moment, to speak to
several older men. Then I was to espy
my lover, whom I had not seen for two
long years. I was to light up every
feature of my subtle (I hoped) face and
hurl myself happily into his arms, there
(Continued on page 72)
70
PHOTOPLAY
Tfief/MeoayKr^taz m- CANDIDS
• •
I , *#* Airport — Geraldine Spreckels, of noted ' t
California family, at Burbank Airport. Her
5 simply — Pond's. "Its use helps
wonderfully soft and smooth."
Ltf*
- t
SOCIETY WOMEN CREAM EXTRA 'SKIN-VITAMIN
INTO THEIR SKIN -THEY FOLLOW THE NEW SKIN CARE *
Ballet Russe Premiere — At the Metropolitan Opera House, Mrs.
Alexander C. Forbes, grandniece of Mrs. James Roosevelt. Her skin
gets extra care. "I use Pond's Cold Cream," she says. "That way
my skin gets extra 'skin- vitamin' along with its daily cleansings."
Big Liner — The Lady Mary Lygon,
daughter of the late Earl Beauchamp.
"The 'skin-vitamin' is necessary to skin
health. I'm glad it's in Pond's."
Palm Beach — Mrs. Wm. Rhinelander
Stewart arriving at exclusive Colony
Club. "The 'skin-vitamin' is an added
reason for my devotion to Pond's."
Winter Resort— H. R. H. Princess Maria
de Braganca (Mrs. Ashley Chanler).
"When skin lacks Vitamin A, it gets
rough and dry. Pond's helps supply
this vitamin."
New York World's Fair Terrace Club — Where Society dines and
dances. Mrs. John R. Drexel, Jr., looks enchanting in white ermine.
Her vote goes to Pond's. "I prefer using Pond's Cold Cream to
protect my skin during the day and to help give it glamorous
smoothness in the evening."
Vitamin A, the "skin-vitamin," is
necessary to skin health. Skin that
lacks this vitamin becomes rough
and dry. But when "skin-vitamin"
is restored, it helps make skin soft
again. Scientists found that this vita-
min, applied to the skin, healed
wounds and burns quicker.
• Now this "skin-vitamin" is in
every jar of Pond's Cold Cream! Use
Pond's night and morning and before
make-up. Same jars, labels, prices.
* Statements concerning the effects of the "skin-vitamin" applied to the skin are hased upon
medical literature and tests on the skin of animals following an accepted lahoratorv method.
Tun* in on "THOSE WE LOVE," Pond » Program, Mondays 8:30 P.M.. N.T. Tims, N.B.C.
Coprr.gbt, 1139. i'ond ■ txtrsct.Camp.ar
APRIL, 1939
71
• Lip- thai invite love must
li>' -"ft lip- . . . iweetlj -moot Ii. !■]< — • -ill v
free from ;my routine-- or parching.
So i lioo-e \oiir lip-tick wisely! Coty
11 1 p-I >.-l »"* Lipstick doe- double duty. It
lends \our lip- u.irm. ardent color. But— it
al-o lielp- to protect your lip- from lipstick
parching. You lip-. Coty-protected, look
like -oit. red latin.
Tin- Corj benefit i- parti) due to "Theo-
liroma." I.i^lil drops of llii- -oftening ingre-
dient go into ererj "Sob-Deb" Lipstick. In
seven fj-liion-etting shades, JOc.
V< H Ur-SpHn" Rouge. Actually blended
^,^ l>> air. it ha- a new e\qui-ite
.J/ -nioollme--. flowing color-.
Shade* mat i hthel ipstick.50< .
;\en — an exciting, fashion-setting thade,
"Dahlia." Available, in Lipstick mid Rouges.
>n in the rapture of his
When t! I director hollered
my name, I almost did the swoon ahead
lule.
The director explained the scene, told
iCtly how we were to do it. Then
we ! times,
quickly.
There W( ■(: "This is the pic-
Quiet!" "Roll 'em!" and all the
other incidental clatter that pre.
take" in a picture.
1 ran down the flight of steps, paused
tor .1 hi iel word with the older men.
saw my long-lost lover out oJ camera
I ran to him. meanwhile hoping
fervently that the camera was keeping
up with me. I leaped on the unfortu-
nate young man like a tigress; he re-
sponded to my ardor like the real
trouper he was. His kiss knocked my
hat off — literally.
The director laughed, everybody
laughed. They kidded the young man,
they kidded me. The director said he
thought the business of having the hat
■ knocked off was cute, even if it wasn't
in the script. However, just for protec-
tion, we'd do the scene again.
As a matter of fact, we did it twice
more. 1 guess that was all the film they
could afford to spend on a small scene,
so they let it go at that.
I said to the assistant director: "Who's
the boy I did the scene with? He's
good."
The assistant director thought that
was very funny. He told it to the di-
rector, who also thought it was funny.
Everybody thought it was funny.
The director said: "Even in Holly-
wood I think people should be intro-
duced to each other before they kiss."
"Sure," said the cameraman, "what
would the Hays office say?"
So they introduced us. The lovers
didn't kiss this time — they just shook
hands, which seemed slightly anticli-
mactical.
I rode back from location that day
with the star and the director. The
i i i
'Thenl>roma" fo intortrrv *">u /,-/»•
u Laty guard* agairut lipmck parching.
(Continued from page 70)
next step, of count iidom for
elf.
Somehow, though, that imminent
ntinued to elude Glam-
our Girl No. 17.2o8. It was more than
months befori 1 to much as got
another part in a picture, and the one
scene I did do never appeared in the
finished film.
Since that time I have done two more
small parts, one of them in Technicolor!
I wore no make-up and looked like a
witch. What price glamour? But re-
cently my tudio gave a femme lead to
a gal who':, oeen under contract for two
years without doing anything but bits.
That's very encouraging. The trick be-
ing, of course, to stay on the payroll
for two years until somebody finally
decides that you're good.
The insidious thing about waiting
around for parts is that you envisage
yourself growing older at an alarming
rate of speed. I find myself examining
my eyes for crow's-feet every morning,
and, in moments of repose, my fingers
will move unbidden to where the first
symptoms of double chin will inevitably
appear. I am convinced, a good deal
of the time, that when I am called for
my next picture it will be to play a
role designed for a May Robson or a
Dame May Whitty.
I HIS has all been about me; but, with
minor changes, it's the story of all the
other Glamour Girls in Hollywood: a
continual struggle to be — or at least to
look — glamorous; and a continual hop-
ing for a break. Some are more for-
tunate than others; some have more
natural equipment; some have more
pure luck.
Our private lives? Pretty normal and
regular for the most part, I think. There
is plenty of parcheesi and Canfield
played in Hollywood, believe it or not.
I know one girl who is moving stead-
ily upward to stardom who never goes
out to night clubs because she hasn't
an evening gown to her name. That's
absolute truth. If she has to go any
place at night for publicity purposes,
the studio wardrobe department sup-
plies her with gown and wrap.
You hear a great deal about censor-
ship of dates. That isn't entirely true,
of course, but we do have to be careful.
We can't afford to be seen in the wrong
sort of company any more than we can
afford to look upon the wine when it is
anything but pale pink in color. If the
love-bug bites us seriously enough to
cause marriage, we must not brag about
it. Stars may openly admit and enjoy
their marriages, but not starlets. It's
not good for publicity or something.
If the California climate enervates us
and makes our eyes lackluster, we must
put herb-treated pads on them so that
we can be as bright-eyed as ever; if we
get a cold that hangs on for weeks (as
they do in this southern paradise) , we
must drink cod- liver oil and sit under
violet-ray lamps; and if we are dropped
from our respective studios, we must
go quietly away and not bother any-
one— back to our homes where every-
body will always look at us as though
our failure to succeed were a cardinal
sin.
And we try — most of us — so terribly
hard. Even when we wonder if it's all
quite worth the effort, we try. When
you've got the urge to act and when
you're lucky enough to have the oppor-
tunity to act, you'd be very ungrateful
if you didn't try. Too, in spite of all
the hard work and the trouble and the
struggle to be glamorous, it's a better
job than almost any other a girl can
hold. It's exciting, it's thrilling, it's in-
teresting— and it's fun.
And someday almost any one of us
may be a star!
By the time you read this line I may
be well on the way to that stardom —
or I may be even less of a nobody than
I am now, a Glamour Girl without a
place or person to beglamour. But in
the meantime I — and all my sisters —
must stand right up to the plate and
keep swinging at the ball.
"This is the picture!"
Play Truth and Consequences with Alice Faye
us publish an unglamorous
picture of you.)
10. (Q) What things give you a childish
pleasure?
(A) I adore being surprised. The
smallest gift, if it is a surprise,
is of great importance to me.
11. (Q) What one important ambition
have you yet to achieve?
(A) To star in a musical success
in the theater. That goes back
to Marilyn Miller, too. I have
had that dream ever since I
saw her in "Sally."
12. (Q) Are you a good business woman?
(A) No. I have no head for fig-
ures. Fortunately my brother
handles all my business mat-
ters.
13. (Q) On what subject do you and your
husband have a difference of
opinion?
(A) I like him best without a mus-
tache.
14. (0) What amount of money do you
usually have with you in your
purse?
(A) I always have "mad money"
. . . usually about eight or
nine dollars.
15. (0) " y°u were presented to the
Duchess of Windsor, would you
follow the example set recently
by Grace Moore and curtsey?
(Continued from page 20)
(A) That would probably depend
upon the circumstances of the
meeting: if it were a very
formal presentation, such as a
reception, perhaps. Otherwise,
no.
16. (Q) Have you ever fought against
doing a certain picture? If so,
what was the reason?
(A) Miss Faye took the conse-
quences. (If you have saved
any theme or poem or sketch
created by you- in your school
days, let us reproduce it here.)
17. (0) Since your experience in "Sally,
Irene and Mary," with Tony play-
ing opposite you, how do you
feel about husbands and wives
working together?
(A) Things usually work out bet-
ter in this profession, I be-
lieve, if married people don't
work together.
18. (0) D° y°u refresh your make-up in
public?
(A) I do if I have to, but I always
feel a little self-conscious
about it. I certainly try to
avoid it at a restaurant table.
19. (Q) What musical instruments do you
have in your house?
(A) A piano, a ukulele, a cornet,
seven radios (including the
one in the kitchen for the
20.
21.
(0)
(A)
(0)
(A)
22.
(0)
(A)
23.
(0)
(A)
24. (0)
(A)
25. (0)
(A)
servants), a musical powder
box, the dinner gong — and
you'd be surprised what I can
do with paper and a comb!
What size shoe do you wear?
Four and a half B.
For vanity's sake, have you ever
worn shoes which were too small
for you?
Yes, I used to, but not any
more.
What point of grooming requires
your most constant attention?
My hair. I just can't do a
thing with it!
Are you inclined to be gullible
and what was the incident?
Miss Faye took the conse-
quences. (Work out a sym-
bolic portrait of yourself, se-
lecting the thing you most
represent; in flowers, colors,
pets, sounds, fabrics, vehicles,
clothing, foods.)
What do you consider your most
attractive physical feature?
I have been told the "eyes"
have it.
What widely spread rumor about
yourself most upset you?
Tony and I were still honey-
mooning when we began to
hear rumors of our divorce.
(Continued on page 74)
72
PHOTOPLAY
"Phase
J in your
near 9Jeel Jlcitch Shoes
BEAUTIFULLY STYLED ... BEAUTIFULLY MADE
MODERATELY PRICED. ..AND THEY FIT GLORIOUSLY
ROBERTS, JOHNSON £ RAND SHOE COMPANY • Division of International Shoe Company • ST. LOUIS, MO.
PRIL, 1939
73
AMAZING MAKE-UP
HELPS THOUSANDS
WIN LOVELINESS!
FAMOUS FRENCH COLORIST CREATES
SPECIAL TYPE CREAM ROUGE
TO MATCH THE WARM, PULSATING
COLOR OF THE HUMAN BLOOD
Now comes a thrilling advance
in the art of make-up ... a special
i-^ type of cream rouge that is made
to match the warm, pulsating color of the
human blood — thus giving your skin an
amazingallureyou never dreamed possible.
This special type rouge is called Angelus
Rouge Incarnat, and instantly you apply
it, it imparts a soft, glowing color to
your lips and cheeks.
You don't need apply Angelus Rouge
Incarnat nearly so often — for it stays per-
fect for hours. No constant fussing to
ANGELUS LIPSTICK
by Louis Philippe
keep yourself looking utterly lovely.
Try the new color Formal Red. The
Rouge is #405; the Lipstick #404. It is
gay and enchanting by day— after dark
mysterious . . . compelling. And see the
other gorgeous colors — such as Fram-
boise, #424 and #414 — and Coronation
Red, #401 and #400. At all drug and
department stores.
CREAM ROUGE
in colon to match
the Lipstick.
30.
(9)
(A)
31.
(9)
(A)
32.
(91
(A)
33.
(9)
(A)
34.
(9)
(A)
35.
(9)
(A)
36.
(9)
(A)
37.
(9)
(A)
38.
(9)
(A)
39.
(9)
(A)
40.
(9)
(A)
41.
(9)
(A)
42.
(9)
(A)
43.
(9)
(A)
44.
(9)
(A)
47.
(9)
(A)
48.
(9)
(A)
49.
(9)
50.
(A)
(9)
(A)
51. (Q)
(A)
52. (Q)
(Continued jrovi page 12)
26. (Q) What incident in your childhood
greatly impressed you?
(A) A stiff spanking with the back
of a hairbrush.
27. (9) What causes dissension in your 45. (9)
household?
(A) Eating. It's Tony's favorite (A)
pastime — whereas I have to
v.. itch my figure.
28. (9) Do you cry easily? 46. (9)
(A) Yes.
29. (9) Do you dread old age?
(A) No. I have heard a lot of peo-
ple say that they hope they
die young, but not I. I hope
I live to a ripe old age, with
lots of children and grand-
children, and I'm going to be
so cute that they're all going
to fuss over me.
What kind of a patient are you
when you are ill?
I'm not fussy about anything
— so long as the nurse plays a
good game of backgammon.
In selecting your home, what "say-
so" did your husband have about
design, furnishing, etc?
We have always rented fur-
nished homes; we are both
easy to please as long as the
house has a good big backyard.
What was the first money you ever
earned?
Mother paid me two dollars a
week to help her with the
housework. I spent the first
week's wages on a fancy pair
of dancing pumps.
What actor do you think has the
greatest sex appeal on the screen?
Miss Faye took the conse-
quences. (Let us see how you (A)
can jump rope.) 53. (9)
Would you be satisfied to lead (A)
an entirely domestic life? 54. (9)
Not for quite some time. Right
now I need my career. (A)
With whom have you ever wished
you might change places?
I wouldn't change places with
anyone.
How many pictures of yourself are 55. (9)
displayed in your home?
You'd better ask Tony this (A)
one. He's the one who sticks
them around — I'm not guilty.
Do you believe in divorce?
Yes, I do — if it's necessary for
the happiness of both people. 56. (9)
What luxuries give you the great-
est pleasure?
Perfumes and having a differ-
ent set of cosmetics (compact,
lipstick, etc.) for each purse.
What nickname in your life have
you most objected to?
Miss Faye took the conse-
quences. (Let us reproduce
the family crest or monogram
which appears on some of your
belongings.)
To whom do you use baby talk?
Give examples.
I never have.
Who influenced you to change
from the platinum-blonde type
you once were to the Alice of
today?
I was never happy as a plati-
num blonde. Eventually the
studio agreed with me that it
was much better to be my nat-
ural self.
Have you ever had operatic am-
bitions?
I have never studied voice. I 62. (9)
cannot read music. And I
have no desire to change my
style of singing. 63.
In what ways are you laiy?
I love breakfast in bed. 64,
Have you ever tried to write a
song?
(A) I have just written my first
57.
58.
59.
60.
61.
(A)
(9)
(A)
(9)
(A)
(9)
(A)
(9)
(A)
(9)
(A)
(A)
(9)
(A)
(9)
(A)
one, entitled "I Promise You,"
which is now on the air. I col-
laborated on it with Ben Oak-
land and Sam Lerner.
Would you know how to change
a tire?
I never drive, so I imagine
that would be the least of my
worries.
Are you the type who fusses a
lot about your appearance?
No.
Do you like to be spoiled?
There are times!
When have you ever actually had
to go hungry?
Never, fortunately.
What moral or word of advice in
your life has meant most to you,
and from whom did it come?
Mother taught me very early
that if I were honest myself,
I wouldn't have to worry
much about the other fellow.
Do you like dolls?
You must have been peeking.
I have dozens of them, fluffy-
ruffly ones for my bed, and
I've also kept all the funny
little kewpie dolls that I've
ever won at amusement parks.
Which of your accomplishments
today was the most difficult to
acquire?
When I came into pictures I
had had no dramatic training
or experience except as a
singer. It has meant a great
deal of study and struggle to
become a dramatic actress.
Do you like to hear the truth no
matter how it hurts?
Absolutely.
What is your middle name?
Jennie.
What lesson have you had to
learn the expensive way?
Miss Faye took the conse-
quences. (If you have ever
designed a dress or accessory,
let us have a photograph of
it.)
What is one of your unfulfilled
personal desires?
To travel extensively, and that
means I have yet to cover a
lot of territory because I have
never been farther than Hono-
lulu.
If you were told that you ought
to wear glasses, would you be
miserable about wearing them?
No. In fact I have worn them
at certain times in my life.
What manual accomplishments
have you?
I can make hooked rugs.
What kind of correspondent are
you?
I answer practically all of my
own fan mail. But in my per-
sonal correspondence I 1 e a n
toward post cards.
Are you a jitterbug?
I could be, if I had the time.
Are you inclined to hang onto
old belongings?
I like things fresh and new.
What was the nicest compliment
ever paid you?
Victor Young, with whom I
have worked many times, was
kind enough to say, "I wish I
could write a song that looks
like Alice Faye." That really
built me up!
When have you been susceptible
to fortune tellers' predictions?
Always.
Can you tell a joke well?
I blushingly admit it.
What is the most important date
in your memory?
September 3rd, 1937— my wed-
ding day.
74
PHOTOPLAY
II Tell You About My Marriage"
(Continued from page 32)
"Our life together will be like every
other happy couple's, I hope," Nelson
said. "I'm building a home for us in
Brentwood. It won't be a large preten-
tious place but just a cozy home with
grounds to build to later if we care to.
My work will be here and my happi-
ness. At present I'm spending half the
time at Ann's home and half at mine.
Until we leave for this tour I don't
blow where I am half the time. We
lope the new home will be ready for
as when we return in May."
IN that new home of Nelson's we can
promise you one thing: there will be
rue love and devotion such as Holly-
wood rarely glimpses. On the several
jccasions we've seen Ann and Nelson
;ogether, in Nelson's home and in the
lomes of friends, we've caught their
ipirit of gay camaraderie, the friend-
hip they shared, their being together-
less that fairly radiated from them.
Ne've caught Ann's glance as it fol-
owed after the tall, handsome singer
ind we knew that in no more capable
lands could Nelson place his heart.
A few years older than Nelson and
he mother of a young son, Ann Frank-
in combines all the sweetness of ma-
ure womanhood, the understanding
leart of motherhood and the straight-
orward thinking and love of living
hat typifies today's modern woman.
"Let's go off on a tear," I've heard
Jelson suggest and caught Ann's quick
nfectious laugh as they swung off to-
;ether, arm in arm, for no more devil-
ry than a cocktail and good dinner at
he Cock 'n' Bull.
Nelson's own description to us of the
vedding reveals a side of the man sel-
lom glimpsed, a side that reveals the
:een sense of the ridiculous that is his,
he side that laughs heartily at himself
vhen the occasion demands.
Nelson was in bed on Wednesday with
i cold, unable to fill a concert engage-
nent at Redlands, when suddenly it oc-
:urred to him time was slipping past
ind his next weeks would be crowded
pith engagements. So he grabbed a
ihone and called Ann.
"Say, we'd better get married tomor-
ow or I won't have time between en-
;agements," he shouted. "I'm sure my
:old will be better tomorrow."
Doris Kenyon, who was to be Ann's
natron of honor, came on the phone
creaming about nothing to wear. So
tfelson kidded back, "Oh, wrap a mink
:oat around you and who will notice."
Next morning at eight, Nelson, his
nother, Ann, Doris and Mr. Osborne,
i business friend, set out for Las Vegas.
Vrriving in the Nevada town before
hree in the afternoon, Nelson grabbed
t telephone to notify Don McElwaine,
i studio publicist and friend.
"Get a key to my dressing room from
the casting office," Nelson phoned, "and
look in the upper left-hand desk
drawer. There you'll find all the in-
formation you need."
"Information about what?" Don
asked.
"About my wedding," shouted Nel-
son, "I'm about to be married, you
dope."
As Nelson told us afterwards, Don
didn't wait to turn corners. "I under-
stand he went right through the build-
ings, plaster and all," the actor laughed.
After the license was secured, they
stepped into the judge's chambers and
waited while the judge adjusted his
glasses and peered at the paper.
With a good old Hollywood double
take 'em, the judge glanced quickly
from the license to Nelson and from
Nelson to the license.
"But you're my favorite singer, Mr.
Eddy," the judge finally exclaimed, as
if that ended matters once and for all.
"Well, you're my favorite judge,"
Nelson shrugged and the wedding was
on.
"SUDDENLY," Nelson said, "I felt I
was right in the midst of something
without knowing my lines. Here I was
doing a scene and no script. But I must
have given the right answers for, after
a rather long pause, the judge leaned
forward and said, slowly and com-
mandingly,
" 'Mr. Eddy, Kiss Your Bride.'
"So we left on our honeymoon. Fif-
teen minutes at Boulder Dam!"
Away from Hollywood, it's eternal
movies and commotion, the bride and
groom stood out on the desert near the
dam and very quietly took pictures of
each other.
"Can you imagine that?" Nelson de-
mands, "What a honeymoon!"
Back in Las Vegas, the crowds grew
with kids demanding autographs and
even giving autographs in return.
"They even fastened tin cans on the
car and followed after us with cars
honking for dear life. We've never en-
joyed anything quite so much in our
lives," Nelson said, "and I wouldn't
have had those tin cans removed for
anything. After all, it isn't every day
a fellow can ride in a car with cans
trailing behind him."
Among the first telegrams to reach
the happy pair was one from co-star
Jeanette MacDonald wishing them all
the happiness they deserve.
And it is happiness for Nelson and
Ann, for in the hearts of his thousands
upon thousands of fans there will be,
I'm sure, only a glad echo of sincere ap-
proval to Nelson's words, "We wanted
each other more than anything else in
the world."
GO TO SLEEP, MARY
THAT PHONE WONT RING TONIGHT
rHE BERNARR MACFADDEN FOUNDATION
conducts various non-profit enterprises: The Macfadden-Deauville Hotel at Miami Beach, Florida,
one of the most beautiful resorts on the Florida Beach, recreation of all kinds provided, although
a rigid system of Bernarr Macfadden methods of health building can be secured.
The Physical Culture Hotel, Dansville, New York, is open the year round, with accommodations
at attractive prices, for health building and recreation.
The Loomis Sanatorium at Liberty, New York, for the treatment of tuberculosis has been taken
over by the Foundation and Bernarr Macfadden's treatments, together with the latest and most
scientific medical procedures, can be secured here for the treatment in all stages of this dreaded
disease.
Castle Heights Military Academy at Lebanon, Tennessee, a man-building, fully accredited school
preparatory for college, placed on the honor roll by designation of the War Department's gov-
ernmental authorities, where character building is the most important part of education.
The Bernarr Macfadden Foundation School for boys and girls from three to eleven, at Briarcliff
Manor, New York. Complete information furnished upon request.
No dates for the girl with underarm odor
Wise girls make sure of charm — with MUM
NO ONE called her yesterday —
surely some one will tonight! And
yet in her heart Mary fears that 'phone
won't ring . . . tonight, or tomorrow
either.
For Mary can't help noticing that
the men she knows neglect her lately.
She never thinks, of course, that she
has grown careless— guilty of under-
arm odor. She forgets that in spite of her
bath, underarms always need Mum!
A bath can only care for past per-
spiration—but Mum prevents odor to
come. With Mum underarms stay sweet,
your popularity is safe. More women
use Mum than any other deodorant-
it's so easy to use, so dependable.
MUM IS SAFE! Mum has the American
Institute of Laundering Seal to tell you
it's harmless to clothing. Apply Mum
before or after dressing! Even after un-
derarm shaving, notice Mum actually
soothes the skin.
MUM IS QUICK! In thirty seconds you're
through. Yet Mum protects all .
MUMISSURE! VTIthout stopping perspi-
ration, Mum prevents odor. Get Mum
at any druggist's today. Give underarms
necessary, daily care with this fragrant
cream and be truly lovely, attractive.
On Sanitary Napkins
i danger of embar-
rassment! Thousands of
women use Mum for san-
itary napkins because
Mum is gentle, safe!
TAKES THE ODOR OUT OF PERSPIRATION
*\PRI L, 1939
75
Robert Kalloch shows Ida Lupino the wedding veil of rare old lace which
he has designed for her to wear in Columbia's "The Lady and the Mob"
BY GWENN WALTERS
THIS month Hollywood fashion circles are
abuzz with trousseau chatter and clothes
ideas for the spring bride.
No unanimous trend has been voted for her
wedding gown. At the altar she may appear as
the prototype of grandmamma in a picturesque
gown with corseleted waistline and hoops or,
- fashionably, as a figure from a Grecian
frieze in a creation of flowing draperies.
I got all pepped up about the trousseau end
of this wedding business, which, after all, is very
dear to a girl's heart, when I visited Robert Kal-
loch, designer for Columbia Studios. He was
busily engaged putting the final touches to the
trousseau clothes that Ida Lupino will wear
in Columbia's "The Lady and the Mob," so he
! v bursting with ideas.
Kalloch saya that although fashion decrees a
leal of leeway where the silhouette of the
wedding gown is concerned, it must be a pure
and simple white this season. When we were
ju^t broken into the pastel hues in wedding
gowns, this is news indeed.
Kalloch also Issued a "be careful" warning
when deciding among the season's varied wed-
ding gown silhouettes. "Make sure that the
styling of the gown reflects the particular type
and penonalil il enhances the figure,
"The petite, feminine type like Ida Lupino
appears to best advantage in a picture gown of
net. organdy or mousseline de sole with billow-
ing skirt and tiny waist The veil for this gown
should be short, of lace or tulle, and the 1 i ad-
piece, of orange blossoms or lily of the valley,
should be carefully designed to suit the contour
of the face as in the case of all wedding veils."
On the other hand, Kalloch feels that the tall,
sophisticated girl gains added loveliness through
the use of classic draperies softly molded to ac-
centuate body line.
He suggests heavy Celanese rayon jersey as a
medium and a long, diaphanous veil of tulle
with simple headpiece.
nALLOCH believes that every girl should be
married in a wedding gown. If her plans are
not for a formal wedding and therefore she does
not feel like investing in an elaborate wedding
ensemble, Kalloch makes this suggestion as
charming alternate for her ceremony costume.
"Let her choose her trousseau evening gown
in a jacketed model of heavy white crepe or
pique. A white snood encrusted with white
petals or wee clusters of orange blossoms would
be fitting and flattering headgear."
Perhaps the most important outfit next to the
bride's wedding costume is her going-away en-
semble. It, with its complementary accessories,
should claim a sizable portion of the trousseau
budget, for around the separate units of this
outfit (coat, hat, shoes, bag and gloves) the rest
of the trousseau may be smartly assembled.
One such ensemble was a sheer woolen in
combination of black and yellow beige. The
skirt, four-gored, is of black — the jacket, single-
breasted with three-button closing, of beige to
match a full-length swagger topcoat. As star-
tling note of contrast Kalloch designed a gay
print blouse in shades of yellow, black and red.
Patent shoes and bag, white gloves and a yellow
straw fabric sailor shadowed with gossa-
mer red veiling complete the ensemble.
The other suit was of navy tricotine with ac-
cent of white and cerise. The skirt features a
fs^^1
LETTER
straight back and a circular front. The hip-
length jacket flaunts a gay lining of cerise taf-
feta, the elbow-length sleeves are trimmed with
deep lingerie cuffs to match a white hand-em-
broidered batiste frou frou blouse. The full-
length topcoat for this suit is styled with
princess lines. Navy blue gabardine shoes and
bag, white gloves and a tiny navy straw sailor,
excitingly dramatized by a single cerise rose,
give final dash.
nALLOCH suggested a couple of important cas-
ual frocks as alternates for wear with the top-
coats and accessories of these suits.
"First, a tie silk frock and, secondly, a knit.
The tie silk frock should be a tailored type, so
it can double for active as well as spectator sport
wear; the knit, a two-piece model, so its jacket
can be interchanged as chic top for separate
skirts in contrast colors."
One tailored frock of tie silk particularly
caught my eye. Of yellow silk, printed with
shades of blue, this charming little casual was
styled with a long-sleeved blouse, a four-gore
skirt and a front-button closing from neck to
hem. The circle neckline and cuff bands, which
held in the fullness of the sleeves, were finished
with organdy collar and cuffs daintily embroid-
ered and edged with ruffles of baby lace.
Kalloch particularly stressed the dressy type
of trousseau frock.
"The dress- up frock, with its own particular
hat, should be perky, gay and picturesque.
Every trousseau should have at least two such
individual costumes. One, perhaps, a little taf-
feta dressmaker suit of navy or black with
blouse of white frou frou and a tiny hat which
might be appropriately termed 'a wee garden
of blooms.' Another, a frock of colorful print,
touched at the neckline with a lingerie collar,
and worn with a wide-brimmed hat of natural
straw. Then there is always the choice of classic
crepe models in flattering colors — I like contrast
toques fashioned of layer upon layer of sheerest
veiling as complement for them."
Kalloch finished his trousseau hints with
pointers on the house coat, which he feels is
most important.
"Every trousseau should boast one, two or
several house coats — they are flattering and
comfortable for evenings at home and they're
so wonderfully practical as wardrobe savers."
Kalloch made one for Ida Lupino of red,
white and blue print and tied it around the
waist with streamers of red and blue. He was
designing another from a printed linen with
yellow background and blue spiral motifs.
And so our little trousseau chat came to an
end, for Kalloch was called down on the set of
"Plane No. 4" to discuss added wardrobe for
Jean Arthur, who plays opposite Cary Grant in
Columbia's exciting foreign air film.
It's been fun writing about clothes for brides,
and I do hope Kalloch's hints will be helpful to
spring brides of 1939!
76
PHOTOPLAY
B
romise. . . .
and fulfillment await the woman
just discovering the
telling poicer of figure beauty.
For her, the modern way of youthful
figure discipline. . . Foundettes.
r*"
There are glamour and good form
for figures in this new Founderce
pantie-girdle by munsingteajl
The new feature "Lastex"* batiste
panel stretches up and dou n .. .
extends into a horizontal-stretch
yoke eier the hips. Zipper in back;
net fabric sides of "Lastex"* and
"Cordura'Rayon.Sry\c42l5-Alall
better stores. *Woten or knit of
"Liumx" )arn.
BY MUNSINGWEAR
Minneapolis
New York
Chicago
OIES i*
We Cover the Studios
(Continued /rtmi page 5C I
a mean-lookin
j. ..ut the "Zuyder Zee"
ii Tin' H
lr Beet in
in. i town,
■
i love
until trended H
him
iiblc.
.-. In tlii
; Barthelmeae, who hasn't
, tura in pears, strolls in
usual— to
1 wills with Cary. Dick
flyer out to redeem
himself. Surprise number two occurs
when Cary. in the middle of the scene,
strolls over to a battered piano and
ripples over the keys like Eddie Duchin.
When Howard Hawks cuts the scene,
confesses to us he's realized one
of his great ambitions — to play the piano
on the screen.
Wo leave the palm and bamboo set to
find Jean Arthur on a giant fruit boat,
out in the dry San Fernando Valley, of
all places. It's in water, too, and a hun-
dred imported sea gulls fly screeching
around its three towering decks, diving
for bits of hamburger the prop men toss
them. In a way. this is one of the most
amazing sets we've ever seen.
Jean's scene is the one in which she
glides into port to become Cary's heart
nemesis. The action calls for her to
hang over the rail as the ship docks,
then descend the gangplank. It sounds
simple enough, but the hanging over
the rail job becomes a little too realistic.
The ship is on rails, beneath the water,
but you'd never know, as you watch it
sail along. Jean knows the secret, but
just the same, after two fakes she hangs
over the rail in earnest. "I want to lie
down," she gasps, turning a pale green.
They hustle a deck chair up and Jean
plops on it with that "Go 'way and let
me die" look. Seasickness out in the
middle of the California desert!
DoWN the line at M-G-M we hear a fa-
miliar bull-ape cry that means only one
thing — Tarzan Johnny Weissmuller back
at work. "Tarzan In Exile" is the fourth
super ape-man movie M-G-M has
cooked up to supply Tarzan fans with
their virile fare. Frankly, we are a
sucker for Tarzan, so it's music to our
ears, and we watch a familiar "Me —
You — Tarzan" scene and then hurry back
wn and Universal who offer "The
Spirit of Culver" for our prying eyes
this month, with Jackie Cooper — the
busiest young actor in Hollywood to-
day— and Freddie Batholomew, growing
tall, lean, and less beautiful every day.
If you remember "Tom Brown of Cul-
ver," you have the story of this picture.
It's almost a rewrite. A tough and bit-
tor orphan, son of a war hero in dis-
grace, is sent to the country's number
one military prep school in Indiana, gets
and manners at last and
proves his paw is a real hero after all.
Tom Brown did the first Culver pic-
ture and Tyrone Power was an extra!
Jackie, sixteen, and Freddie, al-
most fifteen, prove to us how time flies
— even in Hollywood.
Since Freddie and Jackie worked to-
gether in "The Devil Is a Sissy," they're
old pals by now. Jackie's phenomenal
drum swatting ability gets featured in
the picture, and Freddie is privileged
to whack the sticks a few times for
friendship's sake. It's been pretty hard
keeping the Universal youth under
control, we learn, what with Deanna
78
Durbin making "Three Smart Girls
Up" next door. In botv.
r the other is prone to stray and
:t Jitterbug or jam session on a
ent'a notice! The studio finally
1 the production crisis by adopting
Culver barracks rules on the set. with
inspection and everything. Andy De-
vine volunteered for official top sergeant
and Jackie and Freddie are scared to
death of him.
UUR last two studio stops, before in-
specting Radio Row, are Warners,
around the corner from Universal City.
and RKO. At Warners, "On Trial." the
old 1914 stage play that brought Elmer
Rice his initial fame, is being screen-
conditioned with Margaret Lindsay, Ed-
ward Norris, John Litel and little Janet
Chapman. It's heavy drayma — about a
woman who deliberately sacrifices her
spotless reputation to save her hus-
band's life in his trial for murder.
But we don't have to be told that.
One look at the lachrymose set is
enough. It's a courtroom, formidable
and severe. Courtrooms give us the
shivers, anyway, and the movies can
build them so realistically, we feel like
a prisoner before the bar. This one is
extra depressing because everybody we
see is in tears and they aren't glycerine,
either.
Edward Norris, who is going to be a
star one of these days, we believe, in
spite of his chain of bad breaks, has
just finished an impassioned plea to the
judge as we arrive. He is so good that
when the director cuts the scene, the
crew applauds! So does a striking-
looking girl sitting on the sidelines in a
canvas chair. She is Ann Sheridan,
Edward's recently divorced wife. Now
they're both at Warners and Ann has
just dropped in to wish Edward good
luck in a part she knows means a lot
to him. We like her better for the
gesture.
At RKO, "The Castles," as you ought
to know by now, is in the final stage of
a two-year endeavor to bring the ex-
citing, glamorous and tragic romance of
Irene and Vernon Castle to the screen.
Ginger Rogers plays Irene, naturally,
and Fred is the 1939 re-creation of
light-footed Vernon. There's Edna Mae
Oliver and Walter Brennan to fill the
other big roles. Dances will be the big
feature — the Yama-Yama, the Castle
Polka, Walk and Waltz, the Texas
Tommy, M a x i x e and Tango. Fred
dances one new routine — a military
number — and the songs — well, just whip
up your kitchen quartet and you've got
them — "Pretty Baby," "Darktown Strut-
ter's Bali," "When You Wore a Tulip"
and such harmony favorites — a good
dozen.
I HOUGH cinema employers are raging
with radio bigwigs over whether or not
should be taken off the air Wi
we Caught these interesting happenings
out in Hollywood.
Three big new radio shows featuring
Hollywood stars have the Rue Radio at
Sunset and Vine really excited, we find
this month.
The biggest stars in Hollywood were
picked to launch all of them, but "The
Circle," Kellogg's bid for Hollywood air
dominance, is so different and so star-
studded that it's all you hear about
around the massive new ether temples
of NBC and CBS.
Breaking in behind the scenes of this
program, we discover an amazing new
studio setup to handle the round table
talk of Carole Lombard, Ronald Col-
man, Cary Grant, Chico and Groucho
Marx.
A special broadcasting room has been
fitted up with a U-shaped table, pat-
terned after the copy desk in a news-
paper city room. At the "slot," or cen-
ter, a goosenecked microphone, the
first we've even seen, is rigged up for
the informal opinions of Carole, Cary,
Ronald and company. Signs warning
"Do Not Applaud" are the result of the
star wishes — for this is the first Holly-
wood program tailored strictly to the
desires of the screen stars. Every one
on the program voted against applause,
which we consider a big step forward
in Hollywood air shows.
"The Circle" is costing more money
than we can imagine and the gamble
is terrific. Because every star on it is
being urged to be himself, and outside
of a skeleton script, the lines will all be
ad lib. Whether or not that will click
with the public is the gamble. Carole,
for instance, came out in favor of pre-
senting her serious side over the air
minus any touch of the beloved screw-
ball which has captured the fancy of
millions.
The big air advantage to all listeners,
as we see it. is this: stripped of any and
all artificial showmanship, gags, and
phony pretensions, "The Circle" is air-
ing the biggest of Hollywood stars in
their truest colors.
With Joan Crawford, Jack Benny,
Reginald Gardiner, Judy Garland and
George Murphy sending off the new
Screen Actors' Guild show, and Miriam
Hopkins and Cecil B. De Mille breaking
in Jesse Lasky's new Gateway to Holly-
wood program, the air lanes from Holly-
wood are as jammed now as a depart-
ment store aisle or Dollar Day. And
LAST-MINUTE REVIEW
THE THREE MUSKETEERS— 20th Century-Fox
THE irrepressible Mr. Zanuck has a
idea in this musical comedy
version of the old Dumas classic. It
is not entirely successful, however,
since it is neither musical, extraordi-
narily funny nor classic. The Ritz
Brothers have one or two new rou-
tines, but they are not brilliant.
The story of the romantic flight of
D'Artagnan after the Queen's brooch
is told but hastily and without dra-
matic power. Don Ameche plays the
dashing fourth Musketeer and the
Ritzea come in when they outdrink
the other three fellows and dress in
their clothes. Miles Mander is an un-
convincing Richelieu; Joseph Schild-
kraut plays the King, and Binnie
Barnes looks exciting as always in
the role of Lady Dc Winter.
Obviously, the main trouble with
the picture is that it is not any one
thing but a crowding together of two
or three ideas so that all of them suf-
fer. As soon as you are used to the
romantic drama, the Ritz Brothers
come roaring in and then somebody
sings and then there is a duel and it's
all very confusing. Ameche does his
best and his voice is improving.
only a few montlu ago the rumor went
out that Hollywood was through as a
radio center. It's only just beginning,
if you ask us.
The Screen Actors' Guild program
premiere proved the biggest all-star
turnout in radio's Hollywood history.
Tickets vanished in a few hours and El
Capitan Theater was an autograph hunt-
er's paradise. Even the ushers were stars.
Edward Arnold, Robert Young, Conrad
Nagel, Tom Brown and a dozen others
showed bug-eyed ticket holders to their
seats. Reginald Gardiner broadcast with
his arm in a sling. And on the Lasky
debut Cecil B. De Mille spoke from his
sickbed. De Mille's playing hooky from
Lux Radio Theater to guest on the Gate-
way was for a very special and senti-
mental reason, by the way. Twenty-
five years ago Jesse Lasky gave him his
first job as a screen director.
Next to this trio of new chances for
radio ambitious screen stars, the best
news of the month is that Orson Welles,
the New York young dramatic genius
who made Mars pay dividends, is com-
ing to Hollywood to present his Camp-
bell Soup series while he makes his
movie debut in "The Monster," a pic-
ture originally intended for John Barry-
more. John, just to turn the tables, is
in Manhattan to do a stage play. But
he won't mix it with radio. Barrymore's
final program as master of the Texaco
Star Theater brought tears to his eyes.
As he finished his dramatic skit the
whole cast, orchestra and audience
stood up and thundered.
Departing from radio with John are
Nelson Eddy and Una Merkel who are
checking off the regular show list; Nel-
son, a fixture on the Chase and Sanborn
hour, departs on a concert tour, but he'll
rejoin the show after a few months.
Una leaves Texaco for good.
Here and there around rehearsal
rooms and control booths we find them
talking about: Bing Crosby's new
broadcasting shirt of blue with white
galloping horses and his guest's (Roland
Young) attempt to outshine him in vio-
lent orange . . . the diet that Fannie
Brice is on because she tried to get into
her Baby Snooks clothes before a recent
broadcast — and couldn't squeeze in! . . .
the melancholy pining Frank Morgan
suffers for his lost mustache. He had
it for ten years and then "The Wizard
of Oz" made him shave . . . the great
palship that has developed between
Rudy Vallee's pop and Bing Crosby's
. . . the whistling of Wayne Morris and
Andrea Leeds which gummed up Lux
Theater's "Kid Galahad." . . .
The breakaway pitcher Ned Sparks
socked Charlie Rugbies with on Texaco
Theater, and the fit of mid-broadcast
chuckles that seized Olivia de Havilland
. . . whether Nelson Eddy's successor,
Donald Dickson, has what it takes for
Chase and Sanborn . . . Kay Francis'
good sportsmanship about airing her in-
ability to pronounce her "r's" . . . Ty-
rone Power's running away from his
guest and former sweetie, Loretta
Young, after the Woodbury Playhouse
to keep a dinner date with Annabella
. . . Edgar Bergen's rapt and continued
attention to Kay St. Germain . . . Jack
Benny's black Rochester and his sudden
craze for broadcasting in white tie and
tails . . . the "Genevieve Blue," official
spring dress shade inspired by the Amos
and Andy girl . . . and the Hollywood
radio comedian who cracked about his
closest rival — "He's the kind of a guy
who'd marry Hedy Lamarr for her
money!"
PHOTOPLAY
Second Chance
(Continued from page 29)
and what had happened the night be-
fore. Naturally I didn't mention me
being caretaker of the house, or that
money was short and that Betty's work-
ing meant our only way out. I also
skipped over the projection room inci-
dent as lightly as I could. The main idea
right then was to get Betty home safe
and I didn't want to take his mind off
of that.
''You better hold the fort here,
Marie!" he says soberly when I had fin-
ished. "I'll make a quiet turn around
town and see if I can locate her."
Well, after Jelliff had gone off on his
search party I set about the work, keep-
ing one ear cocked for Betty's arrival.
However, nobody arrived except the
electric bill, and then along towards
four o'clock, with Hollywood seemingly
the lonesomest place on earth, the phone
rang and it was Chris Beall.
"Can I come on out?" he asked. '"It's
rather important."
"Come right on!" I says.
•'111 be there in ten minutes!" says
Chris. And then he hung up before I
had a chance to ask had Betty's body
been found in a canyon or what, so it
was, not to be sentimental or anything,
a pretty bad wait until that low-necked
roadster of Chris' drew up in front of
the house.
"Where's Betty?" he asked even be-
fore he got inside.
"Haven't you seen her?" I asked, not
knowing if this was a relief or not.
"I haven't seen her since last night!"
he says. "But I want to, badly. She's
got to listen to me!"
"Well, she won't." I says, "because for
one thing, she's not home just now. And
she's mad as blazes. Was there anything
else you wanted to talk about?"
"Yes, plenty!" he says, flopping on
the sofa. "I'm fired, to begin with!"
"Fired!" I says, "but the picture. . . ."
"Oh, they can do the final cutting
without me and how!" he says. "Didn't
[ get told, though? But it was a swell
Eight while it lasted and I am still con-
vinced I was right."
IT was certainly some story that Chris
nad to tell. It seems that Benny Ross-
man had got in on the early morning
train, and one of the first things he had
lone was look at the rough cut of
"Bringing Up Mother" and they had
shown him the one I was in! Naturally
Benny hit the ceiling and anybody he
:ould reach. He stopped the projection
after the first ten feet, and exactly what
le said, Chris was too much of a gentle-
man to repeat. But I gathered it was to
the general effect that I was dead,
washed-up, and that even if 1 was Shir-
ley Temple, he wouldn't have me for a
gift.
"I fought hard for you. Miss La Tour,"
says Chris, his eyes dark with earnest-
ness, "I had to. You made that picture.
Betty's work was very sweet, but
damned if I'm going to put her ahead
of my honest convictions, and in my
opinion the only version to release is the
one with you in it. When I told Ross-
man that I'd resign if he couldn't see it
my way, he told me to go ahead and re-
sign. He even added that if I thought
so much of the sequences you were in,
I could have them for a present."
"Say. this is awful!" I says. But Chris
only slapped me on the back with a
laugh.
"It is not," he says. "I know what
Fve got in those cans — I've got a for-
tune! And you're going to help me
make it for both of us."
"Chris, I couldn't!" I says indignantly.
"Think of Betty!"
"Betty should care what we do!" he
says. ""She's back in the film. Benny
looked that version over and okayed it."
"What?" I exclaimed. "Didn't you tell
him she was my granddaughter?"
"After the way he exploded?" says
Chris. "Not much!"
"What did you do with those films of
me?" I demanded. "You give them to
me right awav!"
"What for?""
"I'm going to destroy 'em for good and
all."
"You are not!" says Chris. "Those
films are in my desk at home, and there
they stay until I get ready to show them
to another producer."
"You can't do that, Chris!" I says.
"I'm going to!" he insists. "I've al-
ready talked to Tom Reis of Liberty
about you. Now look here, Miss La
Tour, don't worry about Betty and her
career. I love her and I intend to marry
her and that will be all the career she'll
need!"
"Marry her, then," I says, "but you'd
better get her on speaking terms again
first. Here is something you don't un-
derstand, Chris. Betty has her pride.
I'm glad she's going to be in that pic-
ture, but I don't agree yet that she can't
act. What's more, if I was to try a
comeback shed never forgive me, and
I've got to have her love."
"I know!" he says gently, "and so
have I. Do something for me, will you?"
I nodded.
"Go over to Riverside and catch the
sneak-preview of "Bringing Up Mother,'
he says. "Take a look at Betty on the
screen in a pay theater before a real
audience. And be honest with yourself
about what you see."
"All right," I says, "I'll do that. But
just the same if this Mr. Tom Reis hires
anybody in this family, it won't be me!"
"That's what you think!" says Chris
determinedly. "Now listen! If we can
get Reis to look at those rushes, he'll
make a bid for you, or I'll eat my hat.
But he's a hard guy to handle. Between
ourselves he's a money snob and this
house would impress him a lot. Let me
bring him over for cocktails one after-
noon and meet him, anyhow!"
HELL, I thought that over for a mo-
ment and I couldn't see any harm in
saying okay, on account once I and the
house had impressed this Reis, it would
be a contact that certainly couldn't do
us any harm. I was trying to look ahead,
knowing that Betty would always be in
danger at Goldmont because of me,
even if they wanted to keep I.er. And
if Reis took a fancy to her later, who
could tell? So I finally says yes, Chris
could bring Mr. Reis and we fixed a
date.
"Thanks!" says Chris, getting up to
go. "You don't know how good you
are but I do, and I'm going to prove it
to you yet."
I didn't answer that one at all. Then
Chris hesitated at the door and came
back.
"By the way, I almost forgot," he
says. "What do you know about this
fellow Alex Lorm?"
"I don't know much," I says, "but I
think plenty!'"
"So do I. but I'd be ashamed to have
you hear me say it." says Chris. "He
came to see me today. Lives not far
from me and he must have seen me
come in. What a nerve! He walks right
in while I was putting those precious
cans away and I didn't even know he
was there for several minutes!"
I did ONE LUCKY THING for my
skin • • • and here is what happened
I WAS A LONELY GIRL. ..and I didn't know
why. Men seemed indifferent to me — they
never looked at me twice. It puzzled me and
broke my heart. I was madly in love with
Gordon Forrest, the most handsome and pop-
ular boy in town. I tried so hard to win his
interest, but I never even got a chance to
dance with him at parties.
SUE KNEW MY SECRET ... She was a real
friend and she wanted to help me win Gordon. •
One day she said, '"Jane, darling, you're just
the kind of girl Gordon would like. If only
you'd dramatize yourself— do something to
jolt him out of his indifference."
"Do what?" I cried despairingly. "1 spend
hours on my make-up, but nothing seems to
help. I just haven't got what it takes."
"You have!" said Sue. "If you'd only give it
a chance. Take your face powder, for instance.
It doesn't do a thing for you. It doesn't bring
out your warm, gay personality. If you'd only
try one of the new shades of Lady Esther
Face Powder, you'd be a changed girl instantly.
\o\i need a brighter, more alluring shade
...and you'll get it in Lady Esther Powder."
SO I TOOK SUE'S ADVICE. That very day I
wrote to Lady Esther, asking her to send me
her ten new shades of Lady Esther Face Pow-
der. She sent them promptly and I tried each
one on my face. Suddenly one shade— one
lucky, bewitching color— brought a new face
to my mirror. I had never looked so glor-
iously fresh and radiant before!
That night when I went to Muriel Fowler's
big party I was almost walking on air. Some-
thing told me it would happen !
GORDON GAZED IN RAPTURE when he saw
me. He stared as if I were a new girl in
town— a beautiful creature he had never seen
before.
'"where have you been all my life?" he
cried. "W hy Jane Martin, what have you done
to yourself? Come outside ... I want to talk
to you . . . alone!"
Outside on the veranda, the moon was
shining brightly. Before long, I was in his
arms ... he kissed me . . . and he whispered,
"Sweetheart ... I love you . . ."
TRY ALL TEN SHADES, FREE. You, too, can find your one lucky color. Let Lady Esther
send you, free and postpaid, her ten thrilling new shades of face powder. One of
these shades will bring out the fresh natural color of your skin— win you sparkling
"story book" charm. Mail the coupon today.
(\ ou can paste this on a penny postcard) _ _ _ _
Lady Esther, 7118 West 65th Street, Chicago, Illinois. I K t t
Please send me your 10 new shades of Lady Esther Face Powder,
free and postpaid, also a tube of your Four-Purpose Face Cream.
<«)
Name
Address
City State
(If you live in Canada, xcrite Lady Esther, Toronto, Ont.)
APRIL. 1939
79
Just my luck.
Not two words did he say
till I'm poking into my purse, after
dessert. "Can that be a package of
Beeman's?" he asks. And the whole
dinner party looked so wistful I had
to pass it around.
'That makes it a real party!" says he,
thawing out. "I've been hankering for
the fresh tang of that Beeman's
flavor! Peppy as your sparkling
eyes, my dear — refreshing as your
smile! Folks, a toast to Miss
Merriwell, the pearl of dinner
partners! "
"Wli.it did be want?" I asks.
"That's what 1 couldn't make out,"
Chris frowning- "Ostensibly, he
.I tna to help him spot that Swing
• of his in tome studio. And
Mil DU what 1 intended to do
.ilxuit Betty's p;nt in the picture. When
I told him the was back in it he. . . ."
"Well," I cued him.
Ilr rather tried to pump me about
her money," Quia said slowly. "It's
of his damn business and I had
nothing to tell him. But I don't like
it'"
"I don't either," I says, "and I cer-
tainly haven't encouraged his hanging
around here. I'm on your side, Chris!"
"Good Old Marie!" he says. Then all
of a sudden he took my face in both
hands, kissed me, and ran gaily off,
waving and smiling from his decollete
car.
IT was almost dark before Jelliff came
borne and took a load off his feet and
my mind.
"Betty," he says, "is at Lydia Watts.
I suppose she's a nice woman, that
Lydia, but. . . ."
"Thank God, Betty's safe!" I says.
"I talked to Betty in the kitchen,"
Jelliff added, "where she was making a
pie. She claimed she was glad to see
me. and I did all I could, but. . . ."
"But nothing," I says. "Do you mean
to say you actually saw Betty and then
let her stay there?" Jelliff nodded his
head lugubriously.
"That Lydia is a powerful woman,"
he remarks, "and she's backed up Bet-
ty's idea that you are bad medicine, and
said that the great Mrs. Watts will be
big-hearted and shelter the poor child,
and use all her influence to help Betty
in pictures!"
"Lydia Watts' influence in the stu-
dios," I says, "is as hard to find as
an orphan producer without relatives!
That girl is coming home. I've got good
news for her!"
So then I went to the phone with
what I thought was a hot item, but
Betty wouldn't talk to me and Lydia
was very high-handed when I repeated
a discreet section of what Chris had
told me.
"Yes, we know Betty's footage is to
be used," she says coolly. "A good
friend of hers saw to that! And we
know there won't be another change.
That's one picture you'll never be in,
Marie La Tour, I'll promise you!"
That was the way things stood the
night when "Bringing Up Mother" was
to be sneak-previewed out at Riverside.
I and Jelliff set out in time for the
second showing, which is when the sur-
prise number was due, but when we got
to Riverside I was so lathered up with
excitement that I had clean forgot the
name of the theater Chris had told me
it would be at. There was no dice at
the first place we tried and then when
we turned the corner to another theater
I got the shock of my life on account
there was my own name in enormous
big letters right across the marquee!
"Jelliff!" I gasps holding on to him
tight. "Am I whacky or what? 'Marie
La Tour'! Not even the name of the
picture! What does it mean?"
"Steady, old girl!" he says patting my
hand. "It looks like this fellow Chris
has played a trick on you. I guess he
meant it for a pleasant surprise, but. . .
I handed him my pocketbook without
speaking, and somehow or another we
got inside. The theater was jammed to
suffocation and as we stood waiting for
I didn't dare look at the screen,
but I got the feel of the audience right
off, the way any experienced actress
does, and it was warm. In fact, it was
hot with interest and friendly amuse-
ment.
Well, a kind of cold chill, like eating
ice cream too fast, settled on my chest
as I Then I looked at the
n, and My Gawd, there I was! A
plump young vamp in a black satin dress
that was supposed to make me look like
a seal; only now after twenty years I
at last realized that it made me look
like a seal which was wearing the wrong
skin.
"It's 'Liliie of the Valley,' as I live
and breathe," Jelliff whispered. "Ah
Marie! One of your greatest roles!''
"Hush!" I whispered. "Let me cry in
peace a minute!" And, not to be senti-
mental or anything, that's what I did.
Then I dried my eyes and tried to laugh
<t like mod of the other people in
the theater were doing. But my heart
didn't laugh, however.
DAD as it was, I still felt after all these
years that there was a something to
that fillum and I tried to kid myself that
it moved in more than the one sense.
One thing was certain — the audience
went for it strong. Of course, they let
out a few laughs and snorts where the
commentator wisecracked, but they ate
it up just the same and even when they
were laughing at me, it was a friendly
kind of laugh. But that was small com-
fort on account I knew an audience
ought to laugh with a star, not at them
in even the friendliest way. Suddenly
I felt like a very old lady. I wanted to
go home and crawl into bed. I wanted
to pull the covers over my head and
shut out the world with its troublesome
memories. All my worries, all my early
experiences sort of ganged up on me.
I turned to Jelliff and he seemed to un-
derstand. Without a word he took my
arm and led me out of the theater. Back
home at the foot of the stairs he told
me more than a plain good night.
"Marie, I know how you feel," he says
huskily. "I get that way when I re-
member my dance and then look at
Fred Astaire or somebody. But we had
those good old times. They were good
and nobody can take them away from
us! Me, I guess I'm through. But you
. . . you're slimmer, you got more style
and more distinction right now than
ever before. So just dream on that, my
dear!"
THE PUBLISHER OF PHOTOPLAY, BERNARR
MACFADDEN, MAKES A DRAMATIC ANNOUNCEMENT
Nestled in the beautiful rolling hills
of New York State, near the town of
Liberty, is the Loomis Sanatorium
where a great adventure in life is soon
to take place.
Beginning in May, I am arranging for
a demonstration there of a cure in tu-
berculosis truly sensational in character.
And, furthermore, in order that the
really deserving may share in the bene-
fits of this project, I am going to take
one case each from the various states
east of the Mississippi and north of the
Ohio River who will be treated without
charge.
The cure of tuberculosis depends first
and foremost upon building additional
vital power — more health and strength.
Now, the principal means of curing
this disease are quantities of fresh air,
proper amount of rest, sunlight, foods
that will improve digestion and proper
environment.
All this, and more, is available at the
Loomis Sanatorium where the great
battle for a healthy, joyous normal life
is waged every day.
Tuberculosis is usually accompanied
by a depressed state of mind and by the
idea that it is difficult if not impossible
to obtain recovery. In the right at-
mosphere, with the correct treatment,
this belief is done away with and the
cure begun.
Some of the elements involved are
the rest cure, which I believe is advis-
able in complete form only for limited
periods; health-building procedure,
which will bring new strength to all
parts of the body, especially the spine,
and diet, one of the most important fac-
tors in the cure.
It is my belief, borne out by over
fifty years of experience in treating tu-
berculosis, my own case included, that
after a careful examination by a diag-
nostician followed by the competent
supervision of experts, the patient suf-
fering from this disease should be well
toward recovery within a period of two
to three months.
That is why I think the announce-
ment about the Loomis Sanatorium is
one of the most thrilling I have ever
made to the readers of Photoplay. Be-
ginning May first, we will be able to
witness the first demonstrations of the
value of the Loomis treatment in curing
this disease.
Although the Bernarr Macfadden
Foundation is already conducting a
large health resort in Florida and an-
other in New York State, I am desirous
of extending still further my health-
building activities.
I urge all those desiring to present
their case in connection with this free
treatment offer to address Loomis Sana-
torium, Bartholomew Building, 205
East 42nd St., New York City, for fur-
ther information.
WHAT THE STARS SAY:
"Loomis Sanatorium seems to me a
ray of promise lighting the way to a
glorious possibility. Whatever will lessen
the toll of tuberculosis is a great boon
to humanity." PAUL MUNI
"Your plans for the Loomis Sanato-
rium are deserving of the highest praise
from us all. My sincerest best wishes
to you on a project so worthy."
DON AMECHE
"Good luck to you on your new and
worthy project — the Loomis Sanato-
rium." IRENE DUNNE
"Congratulations on the fine ideals of
your undertaking at Loomis Sanatorium.
I wish you every success."
JEANETTE MACDONALD
"My sincere best wishes for the suc-
cess of the Loomis Sanatorium stop it is
both a worthy and very necessary ven-
ture sincerely" GARY COOPER
"I think your plans for tuberculosis
cure at the Loomis Sanatorium are most
worthy and I am sure will add much to
the health and happiness of many now
unfortunate human beings sincerely"
CLAUDETTE COLBERT
80
PHOTOPLAY
"Oh, Jelliff," I says, Td like to be-
lieve you, but. . . . !"
"And,'' says Jelliff, 'Td like to prove
it with a kiss but. . . ."
"Jelliff," I says with a big effort at
trying to be light, ''if I didn't know you
were sober I*d say like the French, that
Jiis was a case of 'cherchez la dram!' "
LIKE most mornings when you would
ike to wake up brave and cheerful, it
was raining. And when it rains in Cali-
rornia, I mean it rains. Not just cats
ind dogs, but lions and elephants. In
)ther words, even the rain is super-co-
ossal. When I got down to the kitchen
relliff was already hobbling about, com-
jlaining of his bad knee which always
lurt in wet weather.
"Jelliff," I says when we had the Java
inder control "I feel bad about what
ve did last night. We should have quit
ny masterpiece and found that pre-
.•iew."
"I suppose we ought to have, but . . ."
relliff gave me a sort of funny look and
ihoved the local trade sheet, damp with
•ain, towards me.
"I'm glad we didn't." He went on,
"There's the preview brought right to
rour door. Get a load of that."
Well, I picked up the Daily Tattler
ind there, just as I had supposed, some-
>ody had tipped off their ace critic to
he sneak-preview. But there was
lothing sneaky about what this re-
viewer had to say. In fact, he came out
ind threw bricks as shamelessly and
ipenly as a chimney in an earthquake.
Hie further I read the madder I got and
hen, instead of being mad any more, I
;ot a cold, frightened feeling. Because
he review was honest. This critic,
Ivezy Thompson, was one of the best
n his line, and what he said went with
he studios. " "Bringing Up Mother' was
i sorry piece of floy floy," he claimed,
'which might only have been plain dull
f sanely cast. But the performance
;iven by a newcomer, one Gail Gallante
n the role of the slavey, dragged the
vhole show down below see-level."
At. Thompson then wished the picture
i happy remake, and many of them,
["he public, he thought, had suffered
;nough without this!
Well, I put the paper down perfectly
rtunned. At worst I had expected faint
>raise, while this was the kind of notice
vhich is harder to live down than the
hings your best friends are so mean
ibout telling you. It meant plenty as
ar as that poor child, Gail Gallante,
Jias Betty, was concerned. She must,
I figured, have read it by now, and I
wanted to get right up and go over to
Lydia's and comfort her. But for a few
noments I simply couldn't move for, in
;pite of our many squabbles, Betty and
[ had at least always been honest with
:ach other. And the honest truth was
ust this. Betty wasn't going to work
or a long time — not in pictures — maybe
lever again in pictures. She thought
ihe had money of her own and she
ladn't. I'd spent my last cent on this
aromotion of her and now it was a bust
ind with Jelliff on my hands, in addi-
tion to everything else, I felt as forlorn
is the last olive after a cocktail party.
I LOOKED at Jelliff for a long time,
wondering about him. In all these years
he'd never guessed how things were
with my finances but as the song says
'Now it must be told." Now, yes, but
bow? Lord, I hated to do it! For Jel-
liff wasn't young any more. He'd had
a lot of tough breaks, but the last few
years he had settled down into a nice
comfortable contentment, without a
thought of ever having to worry again.
I remembered how well he'd done on
his small allowance and how he'd been
so happy with it. I thought too, about
how he'd put himself out a thousand
times for me, how he trusted me, and
now . . . well anyways, I hated to do
this but ... as he himself would have
said. Finally it was Jelliff personally
who gave me my opening.
"Hum!'' he says, reading the paper.
"I see Paramount has a call out for
character men." He said it in order to
be casual while I got over my shock
about Betty but I didn't take it that
way.
"Why don't you try for it?" I asked.
Jelliff looked up in mild surprise.
"Well, I'd just as soon, but . . ." he
says.
"But it's raining and your leg hurts!''
I says softly. "Oh Jelliff, I know, and
I hate to ask it, but I'm afraid you'd
better scramble for that job, leg or no
leg. rain or no rain!"
"Why Marie, what have I done?" he
says anxiously. "Are you sore at me?"
"You haven't done a thing!" I says.
"I'm the guilty party, and if I'm sore at
anybody, it's myself. I've been a pre-
tentious fool trying to bluff my way
along — and your way, and Betty's. But,
oh Jelliff, I see my mistake now and
I'm in a jam. I've got nobody to turn
to but you and I'm making a sharp one
to the right, so watch out!"
And then, before I knew it, I was
crying on his shoulder and telling him
the whole story — how I was only care-
taker in this house and Betty didn't
know she was broke. The only thin"
I didn't tell him was how much I'd
counted on that sale of my Long Island
property.
"There, there, don't cry!" he says
softly, stroking my hair. "I knew you
shouldn't be out here without a man to
protect you! But now you've got one
and he's going to do it!" I pulled my-
self away gently and patted at my
make-up, like a woman does.
"Jelliff," I says, "it will be a mutual
benefit association in this house from
now on. I suppose we ought to get
right down and sit on brass tacks about
what's to do."
"HI go mug at Paramount this very
morning," he says, "knee or no knee, or
I'm a Judas horned betailment!"
"Take anything you can get," I says
approvingly, "because remember every
time you crash a gate there may be a
click to it."
"Now is the time for one good Party
to come to the aid of all men!" says Jel-
liff with a grin. Then with a cheerful
wave of the hat he hobbled out into the
rain.
Gagging like that had made both of
us feel better, and I put on my hat and
waited impatiently for the weekly
cleaning woman to arrive and start her
job. And at last Amandabell appeared,
black and lumbering.
"Ah's sorry Ah's late." she puffs, "but
Ah seen where Metro was goin' to do a
colored picture and Ah jest naturally
haid to stop by the casting office fust."
"Did you get anything?" I says hope-
fully, because from now on Amanda-
bell was one of the things we were go-
ing to do without. But she shook her
black head with a sigh.
"It want mah kind of color," she says.
"Better match next time," I wished
her. And then I told her where I was
going, and gave her Lydia Watts' phone
number.
"If anything important happens be-
fore Miss Betty and I get home," I says,
"call me up here."
A
ND then I set out to fetch Betty, try-
ing to feel as confident as I sounded.
Betty still had the car so I had to take
a bus and walk the rest of the way.
But I did not mind as I am strong, and
also on account I have been out in ev-
ery kind of weather from wild to wool-
ly, all my life. And yet my knees kind
of shagged voluntarily when I got to
Lydia's house and rang the bell.
Once I got inside, the house had, as
APRIL, I 939
81
"To keep teeth brilliant
I like Calox Tooth Powder."
featured in Mai Roach's roman-
tic i '< urn (l\ . "It's Spring Again."
J>
<nlne uAe Wie Juifrd'
. . . ci4e
Add a charming sparkle to your smile — take this tip from
Hollywood: Use < loa tooth Powder . . . the very same pure, safe,
refreshing dentifrice that helps protect the radiant smile of Jean
Parker, Bcores < «f <itlnr famous screen stars and millions of people
throughout the world.
Important: To give teeth a bril-
li.iul high polish without harm to
precious enamel ... to make Calox
always a wholesome, pleasant-tast-
ing dentifrice, five separate tested
ingredients arc blended with pre-
scription accuracy by McKesson &
Robbina, whose products Innc been
prescribed for I<w> years.
• • *
j Calox is approved b)
Housekeeping Bureau. For teeth th>it
shine like the slurs get Calox today at
any driiii counter. Three convenient
long-lasting d
Oopr. WW, McKnocill 4 Kubblus. Inc.
a person might of expected, a kind of
strip-tease touch to it. By which I
mean to say it looked like Lydia had
.stripped the auction rooms and teased
the house with the result, which I sup-
natural to her. And she
kept me waiting which I also suppose
came natural to her after so many years
of keeping 'em waiting for that last
shoulder strap to go. But finally she
slithered in simply jangling with refine-
ment.
"Well Marie'" she says, "I certainly
am surprised at seeing you here after
all you did to that poor child! I should
have thought you knew stealing a show
underhanded isn't done in the profes-
sion!"
"I don't know anything about bur-
lesque, never having been in it," I says,
"but I do know when my own grand-
daughter needs me to look after her."
"I can't say you seem to of done very
well so far!" says Lydia. "And she is
welcome to the shelter of my little home
for as long as she cares to stay."
"Your little home isn't where she be-
longs," I says kind of grim. "My
heavens, Lydia, isn't there family trou-
ble enough in this world without you
fertilizing it'?"
"I only gave her succor!" says Lydia
in a superior way.
"Sucker is l'aht!" I says. "Let me
talk to the chila alone, Lydia, and I'll
try to keep those movie mag-writers
who like to jog the public's memory
away from your door."
Well, it was a dirty threat without
one word of wisdom behind it, but it
worked.
"All right, I'll get her," says Lydia.
"She's out in the kitchen."
"Working off a mood," says I.
"Well, she's fixing cucumbers with
sour cream, wilted lettuce salad, and
sour Russian rye bread with caraway
seeds," says Lydia meaningly.
Then she slid out of the room, one
hand going instinctively to her shoul-
der strap as the portieres billowed
around her, and pretty soon Betty come
in and just stood there, looking sulky
and pretty, but making a stab at big-
woman-of-the-world stuff.
"Well?" she says. "I suppose you've
come to gloat — for I take it you've read
the reviews!"
"Not to gloat, Betty," I says. 'I'm
sorry as can be, but it would of been a
miracle if the first part you ever played
was a hit. Why. you don't imagine any-
actress is actually made overnight, do
you? You who've been around show
people all your life. You don't kid
yourself on the facts, do you?"
"I know what the fact of your 'help'
did to me!" she says, not meeting my
eyes. "And I don't care to accept it'
any more. I've got my own money and
I'll make out until I click."
"Darling!" I says miserably, 'V course
you'll click at something sooner or later.
1 won't interfere again. But unless you
want to live off of Lydia. . . ."
"What's that?" she says sharply, and
from her tone I could see she didn't
want any such thing.
"Your money, Betty," I says, holding
my head as if my permanent was a
complete crime wave, "that's the trou-
ble. You haven't any money of your
own!" Betty's face quivered and her
little hands clenched.
"This is too much!" she says. "I sup-
pose you spent it?"
"No, you spent it, Betty," I says get-
ting up and going to her. "There never
was any money left by your father. I
just said so on account of I wanted you
to feel independent and to stay with me
because you wanted to stay, not because
you felt you had to." Still she didn't
or wouldn't quite get the idea. Prob-
ably Lydia and that Alex Lorm had
been working on the poor kid until she
couldn't think straight, or see the truth
in my eyes, either.
"So now you're going to stop paying
my allowance, as it turns out to be,"
she says slowly. "Gram, I'm surprised
at that — even from you!"
"Betty!" I cries, "I'm even more sur-
prised at you! Of course I'm not stop-
ping any allowance. What I am trying
to tell you is that our money is all gone.
We're broke. And there's nothing dis-
graceful about being broke. In fact
some of the best people have made quite
a popular sport out of it. If things had
gone right, I'd never have let you know
the truth until it couldn't hurt you."
Betty's face twisted in a funny, proud
little smile.
"I'm sorry, Gram," she says. "I don't
know what to think. And I don't know
what to do except that I certainly can't
go home now! Home! To what? To
live off you again, at your age? Not
much! I'll find work. I'll. . . ."
"Betty, come home!" I says. But she
shook her head.
"No!" she says, real firm. "I've got
to think this thing out alone. I've got
to decide for myself!"
I felt pretty well licked and was about
ready to go, when the telephone rang.
Betty answered it.
"It's for you," she says. "Amanda-
bell wants to talk to you."
I took the receiver and listened, hard-
ly able to believe what that soft thick
voice was saying. But my face must
*>ave spoken for me, for Betty's eyes
seemed to catch my fright.
"What is it?" she asked intently as
soon as I hung up.
"It's Jelliff!" I says, unsteadily. "He
— he couldn't make the Boulevard quite
quick enough with that knee, and a car
hit him!"
"Gram!" cried Betty, "where is he?
Don't look like that! Don't!"
"Who wouldn't?" I says, "when it was
me who made him go out. He's home
— but I pushed him into this, I tell you
— I'm responsible!"
Suddenly Betty's whole expression
changed. I think that in those few
short seconds she grew up.
"Come on, Gram," she says taking my
elbow real gently. "This is no time for
us to nurse our fight. Let's forget it
and get on home to him!"
That accident was a blessing in dis-
guise, for it brought Betty home; but —
more trouble looms ahead for Marie
when her magnanimity and humor toss
her from the frying pan into the fire.
Next month, another delightful chapter
in the life of this gallant actress.
Calling All American Girls
So, you'd like to change places with a star? You envy her ability
to attract shoals of fascinating, eligible men? WAIT! Just wait
until you read what some representative gentlemen told Gretta Palmer.
It's in the May PHOTOPLAY. (Prepare to take a new lease on life!)
WHY AMERICAN MEN DON'T
WANT TO MARRY HOLLYWOOD WOMEN
82
PHOTOPLAY
Vienna Farewell
(Continued from page 17)
laughter. Violins are humming sweet
waltzes — beautiful women with jewels
and chinchilla wraps laugh and dance
and flirt; old servants in gold-embroi-
dered uniforms carry trays with cham-
pagne; yes, the spirit of old, gay Vienna
is still alive. . . .
IES, I remember the night of Novem-
ber 22, 1934. Two days before, I had
arrived in Vienna. How well I remem-
ber the deep depression I felt as I
walked through the dying town. And
then, through the mediation of Profes-
sor Clemens Krauss, the famous con-
ductor of the Viennese Philharmonic, I
was invited to the ball in Prince von
Starhemberg's palais.
We arrived rather late. The big
crowd seemed to be in an extremely
gay mood. About one hundred twenty
people were present. Seldom in my life
have I seen so many beautiful women
together and so many famous men and
so many diamonds, furs and luxurious
trappings. The air was filled with exotic
perfumes and the smoke from many
cigars. The guests belonged to the
cream of Austrian and international so-
ciety. If my memory serves me right,
I recognized Prince Nicholas of Greece.
Madame Schiaparelli. Franz Werfel and
his wife, formerly the wife of the great
composer Gustav Mahler. Prince Gustav
of Denmark, Nora Gregor, the best-
loved actress of Vienna. General Mal-
leaux of the French General Staff and
— Hedy Lamarr.
I remember that she attracted my at-
tention as soon as I arrived. Among all
the beautiful and extravagantly gowned
and jeweled women, she was by far the
most attractive — and the youngest. She
wore a white dress, which in its sim-
plicity was really a work of art, and a
single diamond that, as I learned later
on, was one of the purest and largest in
Europe. She was dancing with a man
much older than she. a big stout man
with a strongly lined face.
"Who is she?" I asked the young
Hungarian playwright, Oedoen von
Horvath.
He led me a few steps aside where no-
body could hear us. "Look here," he
whispered, "don't you know what is go-
ing on here tonight? It is the first of-
ficial meeting between Prince von Star-
hemberg and Fritz Mandl, after their
quarrel. Maybe history will be made
tonight!"
A little impatient, I replied: "At the
moment I am not interested in history
but in that woman who is dancing over
there. Who is she?"
Horvath looked at me, incredulously.
"Do you mean to say that you don't
know her? That is Hedy Kiesler, the
Hedy Kiesler. She is the wife of Fritz
Mandl. That's the man she's dancing
with."
I WAS somewhat perplexed. I had
heard the name Hedy Kiesler men-
tioned through her unfortunate appear-
ance in the film, "Ecstasy" — but every-
body in Europe knew Fritz Mandl, the
owner of the Hirtenberger Patronen-
Fabrik. Fritz Mandl was one of the four
munition kings of the world. Sir Basil
Zaharoff, the greatest international
dealer in arms, Schneider-Creuzot, his
French colleague, Alfred Krupp. the
master of the German cannon works in
Essen and Fritz Mandl — these four hold
the fates of all of us in their hands. Day
and night, they are active in their trade,
for war is their business; they have to
sell arms and ammunitions. Mandl was
the youngest of the big four. He was
fabulously wealthy. Hedy Kiesler, the
most beautiful woman in Vienna, was
his wife.
"Look," Horvath gripped my arm.
The dance had ended and Mandl, after
bowing to his wife, slowly went up the
wide staircase. His host followed. And,
though the music was now playing an-
other tune and everybody seemed to be
busy flirting, dancing and laughing,
there was something sinister in the air,
a nervous tension, a barely audible ex-
citement.
Everybody in the ballroom was aware
of the two men who had just left the
hall. In the minds of each one of us
was the thought: what are the two men
up to? A torturing question. . . .
I asked a mutual acquaintance to in-
troduce me to Hedy Kiesler— or, as she
was then called, Mrs. Fritz Mandl. I
asked her to dance.
She seemed to be tired. I noticed that
her shining deep eyes were not so gay
as they had appeared to be from a dis-
tance.
"Let's sit down for a moment," she
suggested. Only then did I notice that
her soft alluring beauty was really in-
toxicating when enhanced by the vital
charm of her eyes and her voice. She
appeared sophisticated and naive at the
same time — great international hostess
and sweet Viennese girl.
HEDY and I spoke about her father,
Emil Kiesler, who had died a few years
ago and whom I had known as director
of an important Viennese bank. He was
a shrewd businessman, a tall, handsome,
well-dressed man with blue eyes and
dark hair growing gray at the temples.
About four or five years ago, when I
was in his office, his ■wife came in. Mrs.
Kiesler was — or better, is (she is still
living in Vienna) — a small energetic
woman. Kiesler immediately inter-
rupted the conference and started to
whisper excitedly with his wife.
"It must have been about a younger
sister of yours," I told Hedy, "because
I could not help overhearing talk of
their 'little girl.' Something seemed to
have happened to her."
Hedy laughed. "The little girl must
have been me," she said, "because I am
the only one they have. Probably I
was having the measles or I had been in
some mischief. My poor old daddy — "
Mrs. Mandl added thoughtfully, " — we
were a very happy family in our house
in Peter Jordan Street — "
A new waltz began and Hedy was
claimed by one of her admirers. Hor-
vath approached me excitedly. "Did
she say anything about Mandl's confer-
ence with von Starhemberg?" he asked.
I took Horvath's arm and led him out
of the ballroom to the big balcony. It
was a cold and clear winter night. The
sounds of the music and the laughter
were only faintly audible. Before and
under us was the silent dark town.
"Mrs. Mandl didn't say a word about
her husband." I replied, "but I wish you
would tell me something about her. She
can't be much older than nineteen or
twenty. When did she marry, and
why?"
Horvath thought for a minute and
then answered slowly. "In these last
three or four years. Hedy Kiesler has
lived an amazingly fantastic life. It be-
gan in quite the usual way. As the only
child of a well-to-do Viennese family,
she went through the usual forms of
e d u c a t i o n — private tutors, private
schools, later on, perhaps a year or two
in a pension in Switzerland; and then
the climax, introduction into society.
Laure LjL
Steppea-up
amour
TWO INNOVATIONS THAT
'DO SOMETHING" FOR YOU
Spiral ana
(PamL-Gfd
hi)
yonrmt"
Bust contour idealized — breasts
proudly high, importantly sep-
arated and deftly shaped by
spiral bands, exactly as a
painter of glamorous women
would draw them — a dipping
curve on top with fullness
around and below. Such is the
magic of "Spiral" bra. You
must have one ! With it Formfit's
exciting new gixdle — Panel-Art
— with panels of fabric squelch-
ing over-ambitious bulges fore
and aft — and sections of firm
yet yielding "Lastex" treating
you to the kind of supple
loveliness others admire.
SPIRAL BRAS sl to *3.50
PANEL-ART GIRDLES $5 to s12.50
MADE BY THE FORMFIT COMPANY • CHICAGO • NEW YORK
APRIL, 1939
83
$ <*
ADMIRE THEIR
BEAUTY
**
ENJOY THEIR
COMFORT
rcsida. -7%. oxJtrui Joz
tfcwa. t&wivK, oz- 7V/ufc /&£.
'a/uu«.' w. Ctb £&vrKa. £utfA&i. (8£ac/<,
£&(&, TV/uti, Szexm oz Go&fax. tStOVK
Is yours a problem foot? Have you a closet
full of shoes that are almost-but-not-quite
a 6t?
Well, perk up. Try Enna Jetticks.
Yes, comfortable shoes. But not because
youthful lines have been sacrificed. Far
from it! This year's collection of Enna
Jetticks is full of college girl shoes — debu-
tante shoes — young-business-girl shoes • . .
all the newest, smartest, and youngest ideas
in shoe design.
The comfort ofEnnaJetticksisdueto their
wonderful range of sizes. All the way from
1 to 12. With quintuple A's. And triple E's.
So — if it's a feminine foot — Enna Jetticks
can fit it. See for your-
m II at any store that $ CI tq $
Bells lima Jetticks.
'5 ro $6
hkwut ' -'y-JvcLct, UT,
NEW YORK
"As (-member, shortly before
she became a debutante, her father died
and at once her troubles started. The
fortune of the family slowly vanished
during the Austrian monetary crisis.
Had] to regain some of the
fortune on the stock exchange
failed. She and her mother lost every
penny they possessed. But Hedy was a
brave girl. She accepted a job as a
stenographer, but she was much too
pretty to work in an office. You know
what I mean. At last, through an old
friend of the family who wanted to help
the Kieslers, Hedy got a job as script
girl in the Sascha Film Studios. And
there Gustav Machaty got hold of her.
InACHATY was the first to recognize
the possibilities of Hedy Kiesler," Hor-
vath went on. "For years he had been
planning a great film — his lifework, as
he called it — but he had not been able
to start it because he could not find the
right actress. When he saw Hedy he
knew that he had found her, but first,
of course, she had to gain experience.
"Machaty asked a few film directors
to let her play small parts in their films.
After she had gained what the film peo-
ple call 'camera technique,' Machaty be-
gan his 'great work.' It was a super-
modern film about a beautiful poor
young girl who married an ugly, old,
but wealthy man. Working with un-
known actors and with Hedy Kiesler as
star, Machaty at last finished the film
and called it 'Symphony of Love' — later
known under the title of 'Ecstasy.' "
Horvath paused. Footsteps came
nearer on the silent street. They be-
longed to a detachment of Heimwehr
soldiers — gray-uniformed, brutal fel-
lows— the creatures of the noble Prince
von Starhemberg and Fritz Mandl.
I looked up. From the balcony of the
palais where we stood we saw a lonely
light in the floor above us. Prince Star-
hemberg and Fritz Mandl were having
their conference there. What would be
the result? Something sinister was in
the air. Mandl was known as usually
getting what he wanted. . . .
With one exception. I smiled. When
Mandl had married the beautiful star of
"Ecstasy," he had tried to buy all nega-
tives of the film. Machaty sold them to
him. But new negatives turned up in
Tokyo, or in Australia, or in Rome.
Again Mandl started buying. He didn't
want to have his wife appear naked be-
fore the bulging eyes of movie fans. But
it was a long time before he learned
that as soon as he bought the negatives,
the company which distributed "Ec-
stasy" had new ones produced. At last
Mandl succeeded in buying the original
for a terrific amount of money.
"Why did she play in 'Ecstasy' at all?"
I asked Horvath, who was still staring
up at the silent light in the room above.
My friend shrugged his shoulders. "I
think that she can hardly be blamed for
it," he answered. "The film itself is a
very ambitious and p.urely artistic work
and I think that nobody, least of all
Hedy, had the faintest idea that the
Kicat public could regard it as a
'naughty' film. Hedy must have suf-
fered deeply over the international
scandal. Of course, she didn't behave
cleverly after the scandal broke. She
shouldn't have appeared in public for
some time. But the great Max Rein-
hardt was just then going to direct the
new play by Eduard Bourdet, 'The
Weaker Sex,' and, either because he
wanted to take advantage of Hedy's
publicity, or, as I believe, in order to
Hive her a chance to show the public
that she was really an actress, he gave
her a small part in it. Through her, the
play became a sensation. She began to
travel between Berlin and Vienna.
Among the parts she played in these
years, I remember one in Noel Cow-
aid's Private Lives' and a big part in
the film. 'The Trunks of Mr. O. F.' "
My friend became silent again. After
a while he went on, thoughtfully: "Yes
— and then her marriage. It was a very
strange and curious coincidence. People
say that Fritz Mandl, who had seen
Hedy Kiesler in 'Ecstasy,' went to the
first night of 'The Weaker Sex' and
watched her from his box. In the inter-
mission, he asked a mutual friend to in-
troduce him to her. Fritz Mandl is sup-
posed to be a man who gets everything
he wants — and a short time later his
marriage to Hedy Kiesler was an-
nounced. Do you remember the story
of 'Ecstasy?' A very wealthy, ugly old
man buys — excuse me, I meant to say
marries — a beautiful poor young girl.
Do you understand what I mean when
I call it a strange coincidence?
"Since the wedding, Hedy Mandl has
become one of the most brilliant host-
esses of international society. Yes," Hor-
vath ended dreamily, "if a novelist were
to describe her life, people would call
him unbelievably fantastic. . . ."
Horvath suddenly gripped my arm. I
looked through the glass door and saw
Prince von Starhemberg and the muni-
tion king Mandl walk down the wide
staircase, arm in arm. Horvath and I
returned to the ballroom. Everybody
had stopped dancing to look at the two
men. Hedy Kiesler left her dancing
partner and went over to her husband.
At that same moment, the music that
had stopped began to play a waltz. Fritz
Mandl, the munition king, took the arm
of Hedy Kiesler, the most beautiful girl
in Vienna and his wife, and they began
to dance. We saw him whispering to
her, gravely, and then I noticed that her
eyes grew wide and fearful. . . .
IES, it was a great night in the Vien-
nese palais of the Prince von Starhem-
berg. Today we know from political
documents that on this very night —
November 22, 1934 — Starhemberg and
Fritz Mandl reached an agreement con-
cerning their ambitious political plans.
Fritz Mandl promised to supply Prince
Starhemberg's Heimwehr with arms for
the overthrowing of Dollfuss.
On this night the foundation was laid
for those tragic events which began
with the cruel murder of tiny Chancel-
lor Dollfuss and led, at last, to the end
of the proud Austrian Empire and its
rape by the German dictator. . . .
I remember well the jubilant violins
playing Viennese waltzes ... I remem-
ber the laughter and the gay voices of
famous men and beautiful women . . .
I remember the atmosphere of exotic
perfumes, white shoulders, expensive
cigars, promising smiles, international
medals and chinchilla wraps . . . and I
remember Mrs. Fritz Mandl — more ap-
pealing, more charming and more beau-
tiful than anyone else — and, hidden be-
hind her veiled eyes, a great loneliness
and fear. . . .
* • * «
Dark and deserted were the streets of
Vienna. Only in one house, a palais —
like a ghost, a dream out of old times —
the last sweet waltzes of Vienna were
danced under shining chandeliers. . . .
» * » *
It's only a few years ago, but
dream has long since ended. The morn-
ing was gray, the awakening terrible.
Dollfuss has bled to death; von Star-
hemberg is a poor forgotten refugee in
Switzerland; Fritz Mandl, driven out of
his country, is traveling somewhere be-
tween Shanghai and Buenos Aires, sell-
ing arms — and Vienna, old, beautiful,
gay Vienna, is occupied by the bar-
barians. The "blue" Danube has be-
come a "red" Danube, flowing over with
blood and tears. . . .
Only one has escaped the awakening
in the gray morning: Hedy Lamarr.
84
PHOTOPLAY!
MOV\ESup«tl
cute
\. new Photoplay departments-giving
ps and advice hot from the Holly-
ood lots — for all amateur movie-
amera enthusiasts who want to buy,
lake and show their own home movies
BY JACK SHER
m^O you want to know how to make
^ your amateur actors act naturally?
J Take a tip from Director Lewis
eiler, of Warner Brothers, and give
te player something to do. As prob-
bly every 16 mm. cameraman knows,
3 soon as the players realize the cam-
ra is turned on them, they drop what-
fer they are doing, grin sheepishly,
take a face, wave their hands, or do
something awkward and uncharacteris-
tic. Thousands of otherwise excellent
vacation or family reels have been
spoiled by this type of reaction. '"All
this can be avoided," Seiler says, "if
you give the amateur player something
specific to do. Let*s say you are mak-
ing a camping shot. One person can
be chopping wood, another cleaning
fish, another starting a fire, and so on.
Weave your action in and out among
the things people naturally do on a
camping trip.
"In the 'plot' type of picture, the
problem is a little tougher. The tend-
ency of the actor is to overact, pro-
ducing a result reminiscent of the old-
time 'mellerdrammers.' The amateur
actors will move too rapidly through
their action scenes; their gestures and
actions will pop in and out of the nar-
row range of the camera lens with dis-
concerting suddenness. Or, on the other
hand, during dialogue scenes, the ac-
tors will stand or sit perfectly still with
their lack of movement conspicuous."
From cameraman George Folsey, on
the M-G-M lot, comes advice on how
to "pan" correctly. Folsey complains
that most amateur photog's use what
he calls a "firehouse pan," in other
words they move their camera from
left to right, or up and down, too
quickly. The right way to use a "pan"
shot to connect two scenes is to follow
some person or moving object from one
shot to another. In that case, the audi-
ence watches the moving object and the
blurred background is seldom noticed.
In timing the "pan" shot the camera
should move as rapidly as the object
itself. As a general rule, shots should
be "panned" extremely slowly — often
not any faster than the motion of the
second hand on a watch.
Castle Films are going heavy on pro-
duction for movies for your home. Best
of this month's crop of flickers is their
"Sports Parade of the Year," which
brings you all the big events to date.
They also have an excellent one reeler
of the Golden Gate Exposition and a
nice number in "George VI Visits the
United States and Canada." Animal fans
will want Castle's "A Day at the Zoo,"
and you folks who are getting your
boats ready for the summer will like
"Sea Going Thrills."
Pathegram are quite proud of their
16 mm. Sound edition of "City of Proud
Memories," which takes you through
Charleston, S. C. Beautiful music in
this is provided by a negro instrumen-
tal quartet. Science bugs will want to
get the one reeler, "Craters of the
Moon." This company also is out with
new Grantland Rice Sportlights and a
series called "Trips Around the World."
Garrison Films have finally released
a picture that will probably be viewed
with interest even 1,000 years from
now. It's called "Crisis" and was shot
by Herb Kline in Czechoslovakia in the
month before and right after the Munich
Pact. It's by far the best and most in-
teresting picture for 16 mm. this year.
Joris Ivens, who is familiar to any up-
to-date cameraman, is now cutting his
first full-length feature film on China.
As yet untitled, this film will be ready
for you by the time you read this. Some
of you will probably be interested to
know that "Professor Mamlock," one of
the best foreign films of the year, has
been released for 16 mm. by Garrison.
OOSSIP about Amateurs: Lew Ayres is
now shooting a murder picture, using
his swimming pool as the scene of most
of the action. Eleanor Powell, a 16 mm.
fan, learned how to do those fascinat-
ing dances she does in "Honolulu," by
photographing a native hulu dancer
with her camera running at double
speed. By running her shots at slow
motion, she broke all records at learn-
ing Hawaiian hulu dances. . . .
Dick Powell has been working on a
16 mm. picture for the last three years.
It is a film recording of his first meet-
ings with his wife, Joan Blondell. and
the incidents of their life together.
New Equipment: From the Wholesale
Camera Supply Co. of Los Angeles
comes the announcement of a new 8
mm. camera equipped with an electric
drive powered by a simple flashlight
battery. One battery is good for about
20 rolls of film . . . The Craig Movie
Supply Company has now placed on the
market a film editing machine for 16
mm. film designed exactly like the 35
mm. editors used by Hollywood stu-
dios . . . Eastman Super XX film, four
times as fast as regular Cine-Kodak
panchromatic, is now available for 16
mm. cameras and will soon be ready for
8 mm. fans as well. . . .
as a Benchley Quip
FOR YOUR ADDED PLEASURE
extra choice, extra long-aged tobac-
cos give extra rich flavor . . . extra
Cellophane wrapper assures extra
freshness.
K IN on "Melody and Madness" with ROBERT BENCHLEY
UrriE SHAWS Orchestra, Sunday lights, Columbia Network
ALWAYS FRESH! Doubly protected
by not one but two jockets of Cellophane.
OUTER jacket opens at BOTTOM of pack.
Copyrictt. 193i*. by P. Lorxllard Co.. T-»
RIL, 1939
11
i lohn Hum juI. featured in Pumno
\\ III ll lul II. Nolc uli.il
aiioul.ii i. ..:..!. the bw! Lei Jcigcnj I )roul
Reborn!
(Continued from page 19)
How "Winter Dryness"
May Rob your HANDS of Charm
S< >l I "Hollywood Hands" are so
charming! Don't lei winter chap
and roughen them.
\ our --Liu's moisture glands become
ctiv« ni< "Id weathei ; your hands
1km natural moisture, too, from expo-
sure to wind, cold and water. Furnish
extra moisture for the skin with Jergens
I mi n hi. I Icl | >s dn ilu softening, beauti-
fying work ol the depleted natural
NEW FACE I \K\ \M h
■ nun
Blend mootfa '.Lin;
bcjuiihc*. 50*, 2Jt, lot.
JERGENS
LOIION
moisture. How do doctors help soften
rough, harsh skin? Many use 2 fine
ingredients that are found in Jergens.
Nevei muU! Regular use prevents
chapping. Trade S minutes a da) for
hands he'll adore? Start now to use
Jergens Lotion. For best results — use
aftei everj handwashing. Only .~>o<5,
- 1 .00 foi ihc spei ial economy
Bize, at any beauty counter.
TREE/ GENEROUS SAMPLE
• ond BOOKLET ON HAND CARE
I '■ ■ \ ' I Ufrcd St
( mi inn ''ii hi. hI. i. Perth, < )ni )
I waul in mi l«»i ih\m II how Jergena Lotion helps
to m.iLi my li. mils ii Hi. M.lt and «
■end >mn generous fne sample of Jergens!
S
CO-
|ll l l-l IIIIM I
State-
room with Scotch and soda and tea and
cigarettes. "The Club," Goulding called
gatherings. They would di i
iiHs they had done and the scenes
they had yet to do. And the talk at
times was so stimulating and so
good that families and cooks \
petually disgruntled over the hour at
which they returned home for dinner,
"lee, Lucy?" George would ask
Goulding. Or he'd say, "Be a good girl,
Lucy, old thing, and chuck me a ciga-
rette, do!" And always Goulding, with
a sheepish grin, would comply. He had
courted this nickname and he knew it
when he had insisted upon showing the
bit actress who played a maid named
Lucy how to do her scenes.
George kidding . . . George enthus-
ing about his work. . . .
Bette was working the day her di-
vorce was granted. She was more
shaken than anyone realized — anyone
except George Brent. George's greatest
fault and charm, as anyone will tell
you, is his understanding sympathy for
everybody in the world. Even George,
however, wasn't prepared for Bette's
crack-up.
They were playing together when it
happened. It was the day before Bette
was to go into the sequence where she
must let the audience know she is al-
most blind but keep this a secret from
those around her.
Bette admits that Judith is one of the
hardest acting assignments she has ever
had.
She and George again were on the
set which represented his office. As
Judith, she was telling him that she
had given up her wild, undisciplined
ways . . . that she loved him . . . that
she knew he loved
her and that it
hadn't been out of
pity that he had
asked her to
marry him. And
she was pleading
with him to help
her make the time
that was left her
count — really
count.
"Where can I
find peace?" There
was a heartbreak-
ing quality in the
way she read that
line.
George re-
sponded. He spoke
with the warmth
of a lover and the
compassion of a
father.
"Within your-
self," he answered
her.
Bette began to
cry. Tears were
what the script
called for; never-
thcless, Bette's
liars were wrong.
For they came
from Bette Davis
crying from self-
pity and nervous
exhaust ion ; and
they should have
come from Judith
Traherne, crying
because of emo-
tions all her own.
Many actresses
would have been
satisfied simply to
have produced
tears. Not Bette. She was ashamed
and horrified. She looked at George
and shook her head. "Nice work,
Davis." she muttered scornfully. Then
she went to David Lewis, the producer.
She asked that the company be dis-
missed.
"Tomorrow," she promised him, "with
a good night's sleep under my belt I'll
be all right."
True to her word she was. However,
all the next day Don and Daffy, the
two English setters in the picture (they
belong to Bobby Davis, Bette's sister),
wouldn't stir away from her.
Whenever she was on the side line:
they sat with their great heads resting
in her lap and their eyes devotedly be-
seeching.
Broadway's Fay Bainter, with her re-
tired naval officer husband, Lieut.
Com. R. G. H. Venable, has Holly-
wood wrapped around her little fin-
ger with her charm and graciousness
rlVE weeks was the shooting time al-
lotted "Dark Victory," but it was ten
weeks before it was finished. However,
no one seemed to care. There weren't
any messages, pasted with red stickers,
rushed to the set from the Front Office.
When executives are pretty sure they
have something special in a production
they are more lenient.
At last, all the film was in the can.
The time had come for a party. All
slicked up, with husbands and wives
and girl friends and boy friends in tow,
the "Dark Victory" company gathered
one night at "Lucy's."
"Lucy's" is a restaurant. It also is
a sanctuary from the eternal California
sunshine.
No golden beam ever has been known
to penetrate '"Lucy's" stone walls. Aro-
matic souvenirs of dishes flavored with
garlic and spices cling to the air. Great
crackling fires burn in the stone-walled
rooms. The wait-
ers are under-
standing and dis-
creet. No tourists
are allowed.
They sat around
one great table,
the "Dark Vic-
tory" company
and their friends.
The toasts were
warm and many.
They drank to
George, over
and over again.
They toasted
Goulding, David
Lewis, Humphrey
Bogart, Geraldine
Fitzgerald (who,
incidentally,!
makes a very real!
claim to screen!
importance in her!
"Dark Victory'!
role) .
"If I may pro-
pose a toast," said
someone, no one
seems quite sun
who it was now
"if I may proposij
a toast — to i
champion!"
Those are th
last lines of "Darl
Victory" bu
somehow, as the;
were spoken tha
night and chair|
were pushed bacj
and glasses wer
raised, all eye]
were on Bette-
w h o sat ther
alone at the hea
of the table.
86
PHOTOPLA
Photoplay's Own Beauty Shop
(Continued jrom page 12)
le capacity for fun; but you can get
ack your enjoyment of life and your
esire for fun and gaiety by getting
jfncient vitamins to increase your vi-
ility so you won't be tired or listless,
terle Oberon, with her abundant vital-
y, is, in our opinion, the perfect ex-
-nple of the "vitamin girl" at her best.
IOST people need additional vitamins
i combat the strain of everyday living,
i make them feel wonderful and look
onderful. And each different vitamin
lays a separate part in its effect upon
DU.
There's Vitamin A, which is found in
-een vegetables especially, and liver,
's in butter and eggs and carrots and
iricots. A deficiency of this vitamin
in impair your vision and lower your
distance to infections. You need Vita-
in A for bright clear eyes and a
?althy nervous system and a smooth
:in.
When you eat beans and peanuts and
asters, you're getting some Vitamin B.
you aren't getting enough of this vit-
nin, your digestion is probably im-
iired, and you're nervous and cross
id restless. Your fingernails break
isily and you probably want to cry
rery time something goes wrong. "I'm
i tired," you often moan, and you know
ju had plenty of sleep last night and
>u really haven't done a thing all day.
If you're losing weight and you don't
el like eating; if your dentist finds
ore cavities in your teeth on your
st visit to him than he ever did previ-
isly: and you despair at the condition
: your skin, you're not getting enough
itamin C. Perhaps your raw fruits
id vegetables have been stored over
period of time, so that the vitamin
mtent has been diminished. Have you
;en eating your spinach and tomatoes
id asparagus and cauliflower and
rinking your orange juice regularly?
Vitamin D is responsible for healthy
•eth and bones because it deposits cal-
um and phosphorus in your system,
irect exposure to the sunlight, espe-
ally in the summer, gives you Vitamin
. Egg yolks and salmon have a little
itamin D. The livers of cod and hali-
ut and a few other large fish are a
ch source.
Vitamin E will give you more vitality
id make you feel well and happy,
ettuce and watercress and whole wheat
nd meat and barley contain Vitamin E.
Lack of Vitamin G is one of the rea-
ms why your hair has no gloss and
our skin isn't so soft as it should be.
ran and yeast and whole milk and
'heat germ are rich in Vitamin G.
These are the vitamin groups that are
3 necessary to you and your well-being,
ou can see the importance of each
ne and realize that each group can
fork better when the other groups are
lso present.
If you don't get all these vitamins in
our daily diet, you can get them in
oncentrated form and supplement
our diet with them.
When you get sufficient vitamins in
our daily routine, you'll be more than
leased with the result. You'll sleep
letter and have more vitality. You
ron't refuse dates any more because
ou're simply too tired to go out after
hard day's ■work. Your skin will be
lear and smooth and have a healthy
dor. Your nails won't break and your
lair will regain its gloss and luster,
fou'll be a new woman, and have a
wonderful time!
Beauty Personals — When you have
'otten yourself into this marvelous
state of well-being, then it's time for
you to go even farther and add those
little beauty tricks of the stars that will
do so much for you because they're
based upon your own clear skin, shin-
ing hair and excellent health.
Try Ginger Rogers' trick of "setthm"
her face powder. After Ginger has
patted on her powder and brushed off
the surplus with her little powder
brush, she takes a cotton cloth or pad
which has been dipped into cold water
and wrung almost dry and pats her
face lightly with the cloth. This way
the powder remains for hours without
that boring necessity of powdering your
nose almost every few minutes. It's a
perfect time-saving device for a busy
girl.
Ginger has several excellent beauty
tricks that you can adapt to your own
use with splendid results. After she
applies her make-up, she touches vase-
line to her eyebrows to smooth them
into place and eliminate any faint trace
of powder.
Ginger's charming habit of touching
a drop of perfume to the inside of her
gloves results in a very light aura of
scent about her whenever she moves
her hands.
It's an old-fashioned trick — our
grandmothers used it— but it's still as
successful as ever.
Another old-fashioned idea is Gin-
ger's coiffure for her new picture, "The
Castles." It's a copy of the hair-dos
worn in 1911, but it's adaptable for eve-
ning wear today and is very becoming.
The hair is brushed smoothly back
from the face and then coiled at the
nape of the neck in a "figure eight."
Because the hair is very smooth, it's im-
portant that your hair be in good con-
dition, shining and glossy.
Sally Eilers prevents any dryness or
brittleness of hr.ir from overexposure
to the elements by using her recipe of
three parts olive oil and one part cas-
tor oil, which she applies to her scalp
with pads of absorbent cotton before
each shampoo. Wendy Barrie has her
own system of brushing her hair. She
first brushes it up, lock by lock, to
stimulate it. Then she ends by brush-
ing it down to restore her hair to shin-
ing order.
nHEN you're applying mascara, try us-
ing Anne Shirley's method to darken
her lashes without caking them with
thick mascara and giving them that
artificial, made-up look. After she has
brushed mascara on very carefully, just
a little at a time, she takes a small dry
brush and brushes off the surplus, sep-
arating the lashes at the same time.
For very formal evening wear, Anne
sprays her new high coiffure with bril-
liantine, then dusts gold metal powder
all over it, adding new high lights to
her lovely red hair.
When painting her nails with polish,
Anne does as her manicurist does, to
give the same professional look to her
nails. To avoid streaking, she uses a
brushful of polish and applies the color
with a circular stroke at the base of the
nail, then completes the coating with
vertical strokes. This gives a smooth,
even coating to her nails.
Kay Sutton's contribution to our list
of beauty tricks is to use only a cream
rouge applied over a cream base if your
skin is dry.
Liquid powder bases or powder
rouges have a tendency to cake on a
dry skin, whereas cream bases give a
smoother finish.
NAIL ENAMEL FOR ME...
t^/'/r.) /f ^£^j /j asitf Sy/rrm/.) .
/
jj
J course Revlon is my favorite Nail Enamel!" says this dazzling beauty — Helen
Bennett— who frequently lends enchantment to the covers of important fashion
magazines. "From the first moment my manicurist puts it on, until it's taken off, days
later, Revlon Nail Enamel is a joy. It stays so lustrous . . . wears so veil. . . goes on so
smoothly and easily. And I adore Revlon's fashionably correct shades. My nails are
in grand shape, too. So — it's Revlon for me — first, last and always!" <■ Smart women
the world over say that Revlon Nail Enamel is best for looks, best for wear AND best
for the nails— keeps them on their best behavior! Quality beauty salons the world
over use Revlon Nail Enamel because it stays on so beautifully between manicures and
brings customers back again and again. <"• You— and your nails— will prefer Revlon, too.
Featured in leading department stores and in quality beauty salons.
tyitu'c' 2/(/tJ ' FOR FRAGILE KAILS...
To protect fragile nails, use Revlon's ADHERON (contains no wax) as a
base-coat under nail enamel. It fives a hard, smooth surface to soft or ridded
nails'. Prolonp wear! Use as a top-coal, over nail enamel, for added lustre.
yft&ivdlm . ..„
FOR NAILS
\ P R I L, 1939
87
THERE IS NO AVERAGE WOMAN—
(Continued from page 68)
Every woman is a law unto herself— women's sanitary needs
differ on different days and what's best for another woman
isn't necessarily right for you. But only you can tell which
type or combination meets voir needs best. . . each day!
So Kotex offers "All 4" types of sanitary protection-
Regular Kotex* Sanitary Napkins — in the familiar blue box.
Junior Kotex" — in the preen box. Somewhat narrower than Regular, for
(lays when leSS protection is needed.
Super Kotcv* — in the brown box. No longer or wider than Regular, yet
its extra absorbency provides extra protection.
Fibs,* the Kotex Tampon — the new- invisible protection that's worn
internally; require* no pins or belt. Only Fibs are Omlt-d for greater safety
'-•.iter ease of insertion — greater comfort in use. Recommended for
final days, particularly. *mte Mwia Reg. u. s. pm. o>
l\euM /W— KOTEX IS MADE FOR YOU!
where Yale let him down in the game
with Harvard, and he hummed snatches
of tunes like "Great Day" and "Chant
of the Jungle" and "Tea for Two" and
the new "Singing in the Bathtub" to
girls with shingled hair and Clara Bow
mouths and to ladies who could wear
hip waistlines and get away with it and
also to ladies who could not, and knew
it, but wore them anyway. And he
went to a reception where he met an
actress named Helen Gahagan, who
seemed to him completely beautiful and
desirable but who saw him not, so that
he put her from his mind with a note
to snub her one day if given the chance;
and he worked hard, and played harder,
and got and accepted and gave invita-
tions, and in the rush of doing these
things the past dimmed, the present
glittered and the future swelled with
promise.
Once again, his life held glamour.
DRADY cast him first as the lead in
"A Free Soul," which was a success.
Then one of the leads went off on sick
leave and in the hysteria of the mo-
ment Mr. Brady decided to take the
man's place himself. Halfway through
the first scene the old man forgot his
lines; and it was Melvyn's chance. He
snatched at it. With a reassuring grin
at his boss young Douglas began ad
libbing, working the other's dialogue
into his own so that Brady had only to
say "yes" or "no" and follow the ac-
tion.
At the final curtain Brady told Mel-
vyn simply, "My boy, you are a real
showman!"
And after that there was nothing too
good for Melvyn Douglas. The theater,
the show, the house itself was his. Brady
grumbled his praise to the rest of the
cast and what was better, to his friends,
and what was far better, to Broadway.
So that when the three-year contract
had expired and Melvyn had done "A
Free Soul" (with George Cukor di-
recting) and "The Command to Love"
and "The Silver Cord" with Laura Hope
Crews and some other plays including a
flop called "Recapture," one David Be-
lasco approached him with a legal con-
tract and a dripping fountain pen. And
he was set.
He needed that break. It had been a
tough summer. A sort of personal pre-
lude to the autumn that was to bring
chaos for the rest of America; it was
1929, and by the time overopulent Wall
Street disgorged its surfeit Melvyn al-
ready knew the meaning of financial
disgruntlement. His father had been
ruined in Detroit — which meant that
out of the two or three hundred a week
Brady paid Douglas, the young man
must support his parents, his brother
and family, an ex-wife and child, and
keep himself in the required manner of
a successful New Yorker. He could not
accept jobs during the summer because
of his contracts. But he managed, with
the aid of a heaven-sent stock offer and
an air of innocence when confronting
bill collectors.
nT long last the air sharpened in Man-
hattan, chauffeurs in town cars got out
their astrakhan collars, the rains came
and the first snow, and Belasco called
his new contractee to conference. Diffi-
culties had presented themselves — or
rather one Difficulty had presented It-
self, in the form of Mr. Belasco's pet
star, the stunning and sometimes stub-
born Helen Gahagan who that week had
returned from Europe. She had read
the script of "Tonight or Never." She
had said positively, "The male lead must
be absolutely perfect. Otherwise, no
a chance," and had gone off to the
country to await developments.
"You're the development," Belasco
told Melvyn. "You're going to be th
lead — if she likes you. I showed her
picture of you, the only one I could
find. It was an old one and she acted
pretty dubious. You're lunching with
her tomorrow, so look your best."
Melvyn did. Belasco, with a tentative
air, introduced him to the beauteous
Helen. Her face reserved comment for
some time, but as the dessert was served
she looked quietly up at Belasco and
smiled.
"He'll do," she said.
Melvyn Douglas was wary of love,
when it came. He felt, justifiably, that
he had a right to be. And after he had
admitted to himself, during the third
rehearsal of "Tonight or Never," that
the one thing in the world he wanted
was to spend the rest of his natural life
in the company — indeed, in the arms —
of the lovely Helen, it occurred to him
that possibly for the first time he was
not sure of what would happen. Hei
attitude had changed, true; he had made
those love scenes count. But he could
not read her eyes.
He decided to change the scene ol
his romantic attack from backstage tc
the more suitable dim-light atmosphere
of a glamour spot. Accordingly, one
evening, he said to Helen, "Do you like
cherries Romanoff?"
She stared at him. "What a peculiai
question. Of course — but why?"
"I'm inviting you for the week enc
to a little country house I've rented
The cook there — "
"Now, listen," she interrupted furi
ously. "None of that!"
"My mother and father are visiting
me."
"Oh." She paused, frowning sheep-
ishly. "Well. . . ."
"Breast of pheasant," said Melvyr
dreamily, "like oversized butterballs
dripping with special sauce."
"Stop! The blood's all rushing to mj
stomach and I can't think." She grinned
"All right. And crepes suzette."
"I'll go back and whip them up witl|
my own little hands," Melvyn said.
IT was the first victory. He appealec
to her stomach first, her heart later: thi
country place was a 1772 cottage righ
out of a Currier and Ives, complete will
old maples and fat cows and a brool
in the front lawn. It had gardens o
green lace. It was surrounded by quie
like the breath of peace; and through tlv
gardens, in the stillness, Melvyn Doug
las walked his lady, summoning ever
technique of romantic attack he hai
learned from the past experienced yean
Helen was only human.
This period was Discovery, mutual
complete.
The ultimate triumph came a feAl
weeks later, surprisingly at the suggesl
tion of a small white-haired womaf
who waited for them on the sidewalk a|
they came out together after the shovl
"Could I have your autographs?" shj
asked, rather timidly. "Both of then|
if you'll be so kind."
While they were signing she sakl
"You know, I do admire you so mucll
Especially that — well, strong love scenl
at the second-act curtain. I've seen I
eight times."
Helen and Melvyn said they well
glad, and Thank you. The old lady too|
the book back, beaming. "Just ori
more thing." she added. "You're mail
ried to each other, aren't you? Nobodl]
told me but I just know it."
88
PHOTOPLA
The two stopped dead and looked at
er. ''How," asked Melvyn, ''do you
now it?-'
"Because of that love scene." The
Id lady chuckled. "You've got to be —
rhy, it would only be decent." She
raved the book gaily. "God bless you,"
he said, and trotted away.
Melvyn caught Helen's eye. They be-
an to laugh, feebly.
"Well," he said, "it's an idea."
Soberly she nodded. "It is at that."
They were married the next day.
E had never thought of Hollywood,
lost of the pictures he had seen ap-
eared to be hacked and hammed out,
idifferent entertainment which was in-
ifferent to art. A few had impressed
im; and since the recent advent of the
ilkies he had come to believe that here
ras an extraordinary' medium for some-
ne with the right ideas and the courage
> use them.
Wherefore he was subconsciously re-
eptive, despite his professed scorn of
le celluloid industry, when Sam Gold-
ryn decided to make "Tonight or
rever" with Gloria Swanson. and ap-
roached him to play the lead.
When he mentioned the subject to
[elen, whose views on Hollywood were
itriolic, she planted her hands on her
ips and gave battle, a rousing fight
rhich turned into a kind of free-for-alL
he did not quite convince him: there
rere too many other considerations
jrcing him to the inevitable.
There was a depression. He had
normous responsibilities, more than
ver now that he had married Helen,
nd he was under economic pressure,
nd the salary offered him seemed un-
eard of. Besides. Helen was more suc-
essful than he, in New York. It was
tierefore pride, that caster of deciding
otes, which forced Melvyn into accept-
nce finally.
But it was a compromise. They would
ake a belated three weeks' honeymoon
d Europe, first. And he would stay in
lollywood only for the one picture.
Sadly, in early 1931, the Melvyn
)ouglases packed and entrained for the
^oast.
They arrived on a rainy morning, took
i cab through the dirty station environs
nd through crowded Los Angeles to
lollywood, to the Roosevelt. There was
i convention there and only one double
oom with bath available.
From its windows they looked down
in a flat, dripping city. After a while,
lecause it was late, they went to Musso
■Yank's for dinner. The chef had a
leadache that night. The chops were
(urned.
Melvyn and Helen came out, still hun-
[ry, to find the rain had become fog.
^ garish, awful, cheap street stretched
iway into enveloping mist. They were
done in a world of unfriendliness.
Standing there, they reached out and
;ook each other's hands.
Then, instinctively and simultaneous-
y. they began to cry, blubbering woe-
fully, with no attempt at concealment,
'or fifteen minutes while passers-by
paused to stare.
The next day they called an acquaint-
ance. "Where does one live in this
town?" they asked him.
"There are only two places to live."
Ihe man said archly. "Beverly Hills
or Malibu."
Hanging up, Melvyn found a Gideon
Bible and put it on the dressing table.
Helen's fingers touched his as they laid
their hands on the Book. Solemnly,
with uplifted eyes, they vowed never,
never to live in either Beverly Hills or
Malibu.
The next day they found a farmhouse
in the San Fernando Valley.
The Hollywood story of Melvyn Doug-
las, and of his wife Helen, is known to
you. During the first years he discov-
ered how magnificent the woman he
had married could be. It was Helen
who, miserable and homesick, took the
time and the intelligence (after Melvyn,
in his first enthusiasm, had signed a
five-year contract with Goldwyn) to
adjust herself to the new circumstances.
It was she who, having accepted a Coast I
play in order to keep busy, remained
uncomplaining in Hollywood while Mel-
vyn was sent by a venomous Providence
to New York, on loan.
But she bawled with delight when, at
the end of nine months, he came to her
and said, 'I can't stand it any more.
We've got to get out of here."
He said simply to Goldwyn. "I smell.
Let me go."
And eventually Sam understood.
Breathlessly happy at having
tossed away three-quarters of a million
dollars in return for freedom, Melvyn
flew to San Francisco to visit Helen, who
had gone up the Friday before. That
night, lying in bed, they heard the far
whistles in the harbor, the shrill call of
romantic distance.
Half-serious, Melvyn said, "Let's go
to China."
She stretched luxuriously. "All
right."
They left that week on a cruise that
would take them around the world.
After two weeks at sea, Helen joined
Melvyn at dinner one evening and told
him she had discovered she would have
a baby.
A French doctor in Paris, whom they
consulted, said, "You must go home,
madame. You must rest."
Another, in Rome, said, "I've never
heard of its being done before — but if
you take care of yourself, I can't see any
objection to your going on around the
world."
So the Douglases proceeded, arriving
in Hollywood just before the birth of
the baby. But it was not born in Holly-
wood. "I won't have our first baby
brought into a place we hate," Melvyn
said.
Helen went to Pasadena for the de-
livery. . . .
Then they moved again to New York.
Melvyn did a play, directed a produc-
tion or two — and Helen Gahagan signed
with RKO to do "She."
He came west to visit her and Colum-
bia offered him the lead opposite Clau-
dette Colbert in "She Married Her
Boss."
They had expected great things of
"She." It was a terrible hodgepodge, a
soft thud at the box office.
"She Married Her Boss" was supposed
to be a quickie, to fill in. It was a re-
sounding sensation and made Melvyn
Douglas a star.
nE had no alternative, afterward, but
to stay in Hollywood, retain in what
manner he could the deep-rooted prin-
ciples of eager living and earnest hard
work that he built up through the hard
long years, safeguard the happiness he
had found with Helen, and delight, year
after year, the American theater audi-
ences who saw his pictures. It was
necessary for him to discover that the
man little neurotic Melvyn Hesselberg
had created out of the nervous vital
stew of his youth could keep his man-
hood, his ideas, his form of life intact
in whatever circumstances, in whatever
environment.
He has done this.
He has. if you will, found himself: and
the enormous success that is his, the
adulation, the money — these things are
secondary.
But in final consideration, he is still
dynamite. It's that inexhaustible vital-
ity and that imagination of his.
Watch him, and what he does; for it
might be anything.
Joan Fontaine mit£0-Jta&o's"GuNGA Din
"
RoUGE can add so much to your
I natural beauty when it is the color
| harmony shade for your type, and
this secret of color harmony is why
Max Factor's Rouge always appears
lifelike. Try it. and see the amazing
difference... 50*.
TrU-COLOR LIPSTICK... its new
and it's a sensation! Just note these
four amazing features... (i) lifelike
red of your lips. . . (2) non-drying but
indelible. . . (3) safe for sensitive lips. . .
■males lipstick line. It's the per-
fect lipstick...created by Max Factor,
Hollywood, tor the screen stars and
you... $1.00.
.ake a hint from the famous
stars of the screen and you will look love-
lier. Choose your color harmony shade of
face powder created by Max Factor-* Holly-
wood, and see how positively beautiful it
makes your skin appear. Note how it im-
parts an attractive satin-smooth make-up
that remains lovely for hours. You'll really
discover that one of Hollywood's most im-
portant beauty secrets is Max Factor's Face
Powder... $1.00
( nmplete your muht-iifi in < nlitr har-
RMNI v have your powder.rouge and lipstick in
color harmony shades to accent the natural beauty
of your type . . . Sole coupon for special make-up test.
octet
•*■ HOLLYWOOD
Mail for POWDER. ROUGE AND LIPSTICK
HMWOHl
APRIL, 1939
n
Cal York's Gossip of Hollywood
same. Terry is Important, being the
. s more popular Scuttle > wh
ultln to play tin- role t if
Tofo in "'The V. I to Ik-
the most Imp me role
(notion-picture cam-
Thc history of how T lady,
tag. ifervyn LeRoy, who
I " had simply
. untry for a dog smart
•h and versatile enough to play
Toto nothing of being suffi-
ciently like the fictional canine to
planaihle. And with no luck. Seems.
that Terry's master. Carl Spit/,
dog fancier and owner of the already
cinematically famous Buck, the St. Ber-
nard, is something of a gambler. He
heard LeRoy was going to produce "The
Wi/.ard of Oz." He read the book a
couple of times and decided it wouldn't
be easy for LeRoy to find a dog ca-
pable of the stunts that Toro has to per-
form. So he set out to create a Toto.
This is where Terry came in, because
Terry, one of Spitz's collection of dogs,
■was selected for the role.
For two months Spitz trained her to
do what Toto must do — to pull a rope
which, in the story, releases the scare-
crow, to chase the old witch, to bark
at a lion, to pick up apples and put
them in a basket, to escape from a mar-
ket basket, to bite a man playfully (in
the picture it will be Frank Morgan)
in the seat of the pants. Then he took
Terry around to see Mr. LeRoy.
"I have a dog hei i an.
OS, man." groaned Le-
a thousand dogs! I've
pe of ever finding a
who can play Tutu!"
"Don't do that, man," Spitz came
back. 'Uric i-, Tutti."
Whereupon Ti rry did her tricks and
LeRoy did a portrayal of a producer
snapping up a "find."
So now. they're guarding Terry with
their lives at M-G-M until "The Wiz-
ard" is finished, realizing that even
$10,000 would be little enough com-
■ ion for losing her.
Chuckle
PAULINE MOORE (in 20th Century-
Fox's "Three Musketeers") promised
to take her three-year-old daughter,
Laurie Ann, shopping one day, but as
a precautionary measure decided to
teach her a few facts about herself in
case she should get lost. She therefore
sat down and carefully confided to the
youngster her father's full name and
the family address.
"Now, do you remember everything,
darling?" she inquired when it was
over.
"Oh, yes," Laurie Ann said.
"Well, then, let's have a drill. Where
do you live?"
"At home," Laurie told her.
Pauline tried again. "Where is
home?"
Laurie Ann looked disgusted. "Here,
o' course."
"What is the address?"
"Oh, dress in closet," Laurie Ann in-
• d her, brightly.
"What street do you live on?"
"This m.'.
' Well—" desperately, "who lives on
this street'.'"
"We."
■ d the matter by writing
the information down on a card and
pinning it in Laurie Ann's pocket. It
seemed simpler.
Personal— for Fred Astaire
Mr. Fred Astaire,
RKO Studios,
Hollywood, California.
Dear Fred:
We hear you have just about finished
your contract with RKO and are leav-
ing shortly for a trip around the world,
so this is to wish you bon voyage. We'll
miss your pictures and we hope you
will come back some day to make more.
One thing, though, Fred ... as an
interviewer, we won't miss you too
much on account of you were always
terrible copy, Fred. Maybe you know
that. You wouldn't talk about any-
thing but your dancing — not anything
— and we've learned that a star's fans
want to know ALL about him, and why
not, we say, since it is fans who make
a star? Being confidential and letting
your life be an open book is a part of
the price of fame, we maintain.
We remember the time we happened
to meet your mother (about the love-
liest lady there is) and she told us
about you when you were little and
how you crept under a bandstand one
day when the band was rehearsing and
she found you there, "directing" the
band with your own little baton. She
told us some of the cute things you
used to say, too, and we wrote a story
and quoted you. And then you called
us on the carpet and gave us hail Co-
lumbia because you said you didn't
like to be associated with baby talk.
But probably you did talk it when you
were four, Fred. . . .
Anyway, here's wishing you lots of
luck and also here's wishing ourselves
better luck with Astaire interviews if
ind when you should return to the
screen! Yours,
Cal.
Screwball Hollywood
HOLLYWOOD is an amazing place—
and you may take the word of Mrs. Don
Amcche for that. Recently, when hus-
band Don was leaving home for the
studio one rainy morning, he glanced
at the weather and remarked, "Well, it's
raining, so we won't make that rain
sequence today." To which Mrs. Ameche
lifted her eyebrows and remarked,
"Would you repeat that, please; I don't
quite get it." "Why, you see," answered
Don, "we were supposed to work outside
and make a bunch of rain scenes, but
it's too wet — we'll have to work inside
on the stage today, I guess."
"Let me get this straight," worried his
wife. "If it's raining you can't make a
rain scene, and if it doesn't rain you
make a rain scene because it's so nice
and dry outside — is that correct?"
"That's right," grinned Don. Yes, Mrs.
Ameche thinks Hollywood is wonderful.
"U tL RING
aAoimd the bathtub
in ttout
Oil,
n
a SHAMPOO, if your hair is dull, dead or lifeless looking and tangles or snarls easily.
A horrifying thought + but simply remember ♦ that the ringaround the bath tub — the wash bowl
and the deposit on an unclean comb is soap scum, and that it forms and resists clear water rinsings,
when soap or soap types of shampoo are used.
4RIMI Mill R : Hair acts as a filter when rinsed, and will collect more soap scum than the smooth
sidesofa tubor wash howl, dimming its natural gloss and multi-colored highlights. ♦ Make this simple
compare the ends o( the hair to the hair close to the scalp. If three-fourths of its length is dull
or lifeless looking, and tangles or snarlsbadly ♦ " the ring around the bath tub is in your hair".
♦ CLEAN HAIR isn't messy or stringy looking when disarranged -f it is soft and
fluffy ♦ picture the lovely hair of a child. Simply remove the shampoo scum
shroud ♦ that forms in your hair during a shampoo, and your hair will be
amazingly alive with millions o{ tiny, sparkling lights ♦ am/ as soft and
appealing as a baby's curls.
♦ T\JLO MlMITI S of rinsing with the Nc« CoLDFN'GLINT pro-
duces this beautiful effect; and removes the cause for annoying
rtd snarls, leaving a hint ef a tint in a shade best suited for
your color type. The New Got 1)1 s GlIST is now in Six Shades,
with an entirely new formula in a new brilliant retail package.
Mains two and one-half times the value, al the same old price.
Iliellwj
GOLDEn GLItlT
Shantpoof) tfinML
BRUNETTES -q AUBURN SHADES
BROWNETTES l^L SILVER GLINTS
BLONDES /(/L LUSTRE GLINTS
tltlfOlli; BEAUTY SHOP. .. toe" STORE
c/ DRUG O- DEPARTMENT STORE
WITH U. S. GOVERNMENT CERTIFIED FOOD COLOR
COPYRIGHT • 1»J8 • *1 GOLDEN GLINT C0..INC.
■
90
PHOTOPLAl
Thriller
UUR spine is still creeping a little, as
a result of that story Adolphe Menjou
told us recently. It happened during
the World War. Menjou and three or
four buddies, on leave one early eve-
ning, were trudging into a small town
in the French Argonne.
Suddenly an enemy plane appeared
overhead and, precipitously, Adolphe
and his companions rushed to the near-
est shelter, a deserted trench, and fran-
tically packed themselves in.
In due time, the plane, after dropping
an ineffectual bomb or two, flew away
into the gathering dark. "Come on,
fellows," Adolphe said, "let's go."
Whereupon, some of the members of
the group clambered out. But the man
Menjou was lying next to, with his arm
around most chummily, didn't move.
Adolphe gave him a push. Still the
man didn't move.
Hastily, Adolphe lit a match and
threw the light into the unresponsive
one's face ... to learn that the man
wasn't a member of the group at all,
but a dead German.
Anniversary
MAYBE you thought Bob Burns was a
comparative newcomer to the screen,
but if you did you were badly mistaken.
Bob, to the consternation of the assem-
bled cast, celebrated his twenty-fifth
screen anniversary during the filming
of "I'm From Missouri" at Paramount
recently. Seems Bob started his career
in 1913 when he played the role of a
Swiss guard in "The Swiss Orphan" for
the old Biograph Company in New
York. He was all dressed up to begin
with, but after about 300 peasants in
wooden shoes had clumped over his
prostrate form he was considerably
mussed up — and pretty fed up with pic-
tures (he got three dollars for the part),
which is why he didn't return to the
screen until 1930.
Look to Your Laurels, Lamour
HE don't go in for prognostications as
a rule, but we've seen a girl at Para-
mount who, we venture to say, will be
a top star in the not too distant future
. . . Patricia Morison. We had heard
raves about her for some time, but put
them down to a publicity department's
usual enthusiasm over any newcomer.
And then we saw Patricia.
Well, Oliver Hinsdell, Para's dramatic
coach, describes her as a "brunette with
a blond personality" and we can see
what he means. She has, someway,
the verve and intensity of a brunette
and the sunny vivacity of a blonde. As
Hinsdell says, "She's all mixed up but
she's sweet."
It seems, too, that she is a camera-
man's dream because she has no bad
camera angles. You can simply shoot
her any way you want to. Smiling,
blue-eyed and built after the fashion
of Phidias, Patricia also has the distinc-
tion of having the longest hair (dark
auburn) in the picture business, her
thirty-nine-inch tresses surpassing Dor-
othy Lamour's by three inches.
She was born in New York, the
daughter of William R. Morison, the
English writer and artist, and Selena
Carson Morison, who served in the
British intelligence department during
the War. A Paramount talent scout
found her on the Broadway stage in
"The Two Bouquets." Her first picture
is "Persons in Hiding."
Howard Humor
nHEN Leslie Howard was signed for
the role of Ashley in "Gone With the
Wind" he wired Margaret Mitchell the
following message — "I'm not at all en-
vious of Rhett Butler, because, thanks
to you, it was 'Melanie Ma'am' that I
wanted — but seriously, I feel it a great
honor to have been selected to enact
one of the roles of your book, the title
of which escapes me at the moment."
Why, Nelson!
nE should be talking about Nelson
Eddy's surprise marriage, we suppose,
but, as a matter of fact, the most enter-
taining story we have heard about Nel-
son lately has nothing to do with his
new wife, but is an anecdote about his
old Pennsylvania newspaper days.
Seems his city editor sent him out to
cover a murder which was so mysteri-
ous that nothing was known about it
except that the body of an unidentified
man had been found floating in a river.
Still, Nelson's paper published several
editions daily and it was up to him to
phone in new "leads" for every edition.
Desperate, after exhausting every other
bit of news on the story, he telephoned
a fabricated yarn that a posse of sher-
iff's officers were dragging the river
bottom in search of other clues.
"Good," the city editor said. "I'll send
out a photog to get pictures!"
So Nelson had to pay members of a
road gang working near by $2 apiece to
pose as members of his "posse" in order
to substantiate his story.
Comedienne
I HIS "short-short" is just another bit
of proof that truth is stranger than fic-
tion— or exactly like fiction. It is
about an ambitious kid who got her
Big Chance on Broadway as under-
study to Ina Claire in Ina's Broadway
play, "Jumping Jupiter." That was back
in 1910 and the youngster was still in
her teens and still had her career be-
fore her — a great career as a dramatic
artist, she was sure.
Soon came her opportunity. Ina,
whose role in "Jumping Jupiter" was
a sprightly but not particularly comic
one, was taken ill and the young un-
derstudy took her place.
Earnestly, eagerly, she put her whole
soul into her performance. She made
a name for herself that night, but not in
the manner she had dreamed of. Almost
with her first lines the audience sensed
a certain something about her which she
hadn't intended at all and didn't even
know she possessed — a strange, inex-
plicable something which makes a per-
son funny. They laughed and, with that
first laugh, they broke her heart. But
how could they know that? After all,
they laughed, not in ridicule but because
here was a born comedienne who was
giving to the role a different interpre-
tation than even the gifted Claire had
done. They were crazy about her.
By the time the final curtain had
been rung down, she had become a sen-
sation. Her career was launched.
But just the same, this new sensation
went home and cried herself to sleep
that night. Because she hadn't tried to
be funny at all. She had tried to
give a serious performance.
You, yourself, have laughed at her
many times, recently in M-G-M's
"Stand Up and Fight." The name is
Helen Broderick.
Cal's Thought for the Month:
HOLLYWOOD'S greatest mistake is in
too careful deliberation. A town of
quick, nervous energy, everything in it
and of it should be geared to that tempo.
Quick movie-making, quick action,
quick thinking. For you give Holly-
wood two years for detail and it will
give you "Parnell" every time.
CfsXdJLSnio^Ski^
ALWAYS MAKES
THE GRADE
NOW CHOOSE THIS
FAMOUS POWDER BASE
FOR THE EXTRA
SKIN-VITAMIN
IT BRINGS!*
"jV'nW u hen you smooth your
■1 ^ -kin for powder with Pond's
Vanir-liiii" Cream, you're giving it
i\(ra -kin can1.
Now Pond's contains V itamin \.
tin- "-kin-\ itamin" necessan to
-kin health. Skin tliat lark- llii-
\ itamin becomes rough ami <lr\.
Hut when "skin-vitamin'" i- re-
stored, it help^ make ~kin -oil
again. I se Pond's \ anishing4 .ream
before powder and for overnight
to |>ro\ ide extra skin-vitamin for
\our -kin. Same jar-. "*.ini>- labels.
Same prices.
MlA. NickcdcU (I. du Pant
whose doily routine always includes outdoor sports, has recently come to
Wilmington as a bride. She shoots, swims, golfs — and is often seen motor-
ing through the magnificent estates neor by.
Statement** concern inn t he effect* of the **«kiii-\ii:imin** applied t*» I he «km are baaed upon
medical literature and tests on the akin of animal* follcmiiig an accepted lanoratorj method.
Tune in on "THOSE WE LOVE," Pond's Program, Mondays, 8:30 P.M., N. Y. Tim*, N.B.C.
APRIL, 1939
91
How Well Do You Know Your Hollywood?
I
PLACES
il»DLE5
PAHTItS
in T«o (tot*
ond While
SlMf J6 to II
..L-FORfll
"'youthinfe all„ _>,
r-»ron and ^5(,;» ?
"on c.i:. "
w°?"w.s. 0r"fc,fc"
ffJrf'"»-n.n.Ala,
'ead'"9 s(or„
FLflminGO
America's finest
NAIL POLISH
innounces
FIVE "MUST" SHADES
FOR 1939
Now Bhowing! FLAMINGO'S five
most stunning new shades — a chal-
lenge to the "stay-behinds" — adven-
ture to the fashion-dictate moderns
real Beauty Salon Quality for your
personal use.
Exquisite lustre, subtle color-ton-
ing, and longer wear feature II. V-
MINGO'S Ritz, Avalon, Sahara.
Duchess and Monterey shades. V5 it li
these five shades you can meet any
costume or occasion requirements.
And you can hate all five "must"
shades and -till save money — for
II. \\1 1\(,< > is sixty-cent quality, yel
for only a dime
. . <it <ill ten-cent stores
PENNY SINGLETON
Appearing
"BLONDIE
STEPS OUT"
A Columbia
REAL-FORM GIRDLE CO., 358 5th »»«.. Ntw York
GPADE yourself fivo points for
every one you guess right. If
or less, you don't
keop up with Hollywood. If your score
u'ro doing quite well; and
have a score of one hundred,
know as much as PHOTOPLAY.
Check up on page 96.
1. This singing star's first Technicolor
picture will be 'Jenny Lind":
Irene Dunne Deanna Durbin
Giace Moore Gladys Swarthout
2. Since her recent much-publicized
romance with one of Hollywood's most
important stars, this actress has been
signed for two more films by the same
studio that has him under contract:
Ann Sheridan ]oy Hodges
Annabella Barbara Stanwyck
3. Now that Joan Blondell has left
Warner Bros., the studio is grooming
this young actress for the type of roles
Joan used to play for them:
Jane Wyman Gale Page
Gloria Dickson Lucille Ball
4. He is the only member of the
"Birth of a Nation" cast still active and
prominent on the screen:
George Bancroft H. B. Walthall
Adolphe Menjou Donald Crisp
5. She was once publicized as Holly-
wood's "unkissed girl":
Ellen Drew Olympe Bradna
Lana Turner Anita Louise
6. This actress' sisters will appear
with her in "Alexander Graham Bell":
Priscilla Lane
Joan Bennett
Loretta Young
Olivia de Havilland
7. He was a cavalry officer in the
Spanish-American War:
Lewi's Stone Lionel Barrymore
Edward Ellis Henry Davenport
8. This star once taught the Duke of
Windsor how to Charleston:
Fred Astaire Douglas Fairbanks, Jr.
Cesar Romero George Ratt
9. The leading role in "Confessions
of a Nazi Spy" will be played by:
Edward G. Robinson James Cagney
Spencer Tracy John Garlield
10. Only one of these actresses has
never been married:
Marjorie Weaver Eleanor Powell
Lola Lane . Madeleine Carroll
I I. He once played the saxophone in
an orchestra:
Alan Marshal Tyrone Power
Fred MacMurray Lloyd Nolan
12. When this comedienne played
the tragic mother role in "All Quiet
on the Western Front" the audience
laughed so ha'd at the preview that
the scenes had to be remade with an-
other actress in the part:
ZaSu Pitts
Alice Brady
Mary Boland
Billie Burke
13. This actor owns a night club and
a girls' Softball team:
Cary Grant Maxie Rosenbloom
Randy Scott Richard Dix
Irene Dunne in "Love Affair'
14. He was signed to play Scarlett
OHoros father in GWTW but his op-
tion expired before his role began and
since he was needed at another studio,
he's out of the picture:
Jed Prouty
Walter Huston
Walter Connolly
John Barrymore
15. This former heavyweight cham-
pion of the world will make several
westerns with songs:
Jack Dempsey
Max Baer
James Braddock
Gene Tunney
16. If Constance Bennett divorces
her husband, the Marquis de la Falaise,
as she says she will, she will probably
marry:
Gilbert Roland
Gene Markey
Don Alvarado
Walter Wanger
17. In her new picture, "Broadway
Serenade," she will tap dance as well
as sing:
Ann Sothern
Joan Crawlord
Lily Pons
Jeanette MacDonald
18. This opera and film star created
a storm along the Riviera when she
curtsied to the Duchess of Windsor:
Lily Pons
Miliza Korjus
Grace Moore
Gladys Swarthout
19. You will find this Hollywood
couple playing leading roles in the
Broadway hit, "The American Way":
The Basil Rathbones
The John Barrymores
The Joel McCreas
The Fredric Marches
20. This screen comedian is generally
conceded to be Hollywood's richest
star:
Mischa Auer
Harpo Marx
Harold Lloyd
Jack Oakie
92
PHOTOPLAY
The Shadow Stage
(Continued jrom page 53)
• HONOLULU-M-G-M
ORACIE ALLEN'S newest starring pic-
ture has comedy, music and plenty of
fast action to keep you happily occu-
pied. She shares her honors with Rob-
ert Young and Eleanor Powell in this:
Young is a screen star who finds a
double to make his personal appearance
tour and then goes off to the double's
Honolulu plantation. He meets a girl
on the boat and at the plantation finds
his fiancee, as well as her father and
some detectives. It's a bad predicament
and while he works it out you have a
chance to laugh at Gracie and watch
Eleanor's irrepressible feet tap out
rhythmic accompaniment to the fine
score. Metro intended this to be Miss
Powell's picture, but, somehow, Gracie
Allen seems to have appropriated it.
ST. LOUIS BLUES-Paramount
WHATEVER story comes with this pic-
ture is merely a series of anticlimaxes
designed to hold together a lot of se-
quences in which people sing. Lloyd
Nolan plays the young captain of a Mis-
sissippi showboat and does excellent
work. Dorothy Lamour, looking attrac-
tive, sings four songs during her stay
on the showboat; she is fleeing from a
manager who makes her perform in
sarongs. Four numbers are also war-
bled by the incomparable Maxine Sul-
livan, aided by the Hall Johnson Choir.
Jessie Ralph gives a Tugboat-Annie
characterization, but good, and com-
edy in its less subtle form is offered
throughout. You will like the music
enough, probably, to ignore the faults
in story and production.
• IDIOT'S DELIGHT-M-G-M
ROBERT SHERWOOD was allowed to
adapt his own play in his own manner
and the result is gorgeous. Clark Ga-
ble, never more vital, plays the hoofer
who survives the World War and tries
in multitudinous ways to keep body
and soul together in the following years.
In a European hotel he meets Norma
Shearer, whom he had last seen as a
trapeze artist in a small American town.
Now she's a phony Russian countess,
traveling with Edward Arnold, a muni-
tions manufacturer. Also at the hotel
are Burgess Meredith, a fanatic radical
who is ready to die for his pacifism, a
young English couple on their honey-
moon and a German scientist.
Take these people against the electric
background of the next war — which is
just beginning — and you have drama in
fantastic proportions. Add to this the
magnificent characterizations of Gable
and Miss Shearer and you have the best
in entertainment.
• GUNGA DIN-RKO-Radio
UIVEN unlimited budget and a great
cast, Director George Stevens has told
the story of Kipling's poem with such
drama, such terrific action, such blood-
curdling pace as to wear you out. Cary
Grant, Victor McLaglen and Douglas
Fairbanks, Jr. are three buddies in the
British Indian regiments. McLaglen
isn't too bright; Cary is just a slap-
happy adventurer; and Doug, Jr. plans
to quit, marry Joan Fontaine. How-
ever, the revival of a cult of assassins,
under the leadership of madman Edu-
ardo Ciannelli, sends all three out into
danger.
Grant, led by Gv.nga Din, a water
boy who wants to be a soldier, finds
the golden temple where the cult meets.
Then it is up to Gunga Din to prove
his courage. Cary Grant's work is an
absolute delight. McLaglen is as good
as ever before and Doug, Jr. does a
good job. Sam Jaffe, without a trace
of humor, plays with utter sincerity the
title role.
• ONE THIRD OF A NATION-
Orlob-Paramount
I HERE is no doubt about it, the pro-
ducer and Dudley Murphy, the direc-
tor, were sincere in their efforts to make
the first major picture made in the East
at Astoria since 1935 a production that
would make the public think. Using
the President's famous line from his
second inaugural address, "one-third of
the nation is ill housed . . ." they have
made a propaganda film — a sermon for
slum clearance — that will make you
want to attack with an axe the first old
house that you see on the way home;
but it's all very unreal emotionally.
A tenement house is the prime char-
acter; Sylvia Sidney, a slum girl, Leif
Erikson, polo-playing owner of the
building and Sylvia's little crippled
brother seem to be making speeches
against a backdrop rather than being
definitely involved in a plot.
Allowing for the above mentioned
drawbacks, there are thrilling moments
and the cast is excellent.
•THE MIKADO-Toye-Universal
IT is hopeful to see the screen reach a
new milestone in this — the first full-
length production of any one of the
comic operas of Gilbert and Sullivan
of happy memory. "The Mikado" is
one of the most lyric and colorful of
the operettas written by this distin-
guished team and in this version it has
lost little of its delightful sentimental-
ity, its frothy but at times surprisingly
modern and ironical humor.
The film was produced in England
a broader brim, a softer crown gives a new
"pretty" look to this felt casual. $5.95
at better stores everywhere and in New York, at
KNOX THE HATTER • FIFTH AVENUE . NEW YORK
They fought together as kids; they dance together today:
John Garfield and his wife, the former Roberta Mann
APRIL
939
93
\ Put Yourself
in this Picture
The Invisible Way! I bs, the Kotex Tampon
with i really solves tin--
problem of d.»\s when less protection is
omfortable, more secure,
ucts merit your
i icoce.
Quilting— so Important! Special "Quilting"
keeps Fibs from expanding abnormally in
use — keeps the soft cotton sides in place-
thus increasing comfort and lessening the
ility of mjury to delicate tissues. The
rounded top makes Fibs easy to insert.
■
Yes, Fibs Cost less! . . . only 2'5c for a full
dozen. Try them next time. Mail coupon now
for trial supply f rle.
oS
—
1408, CDCCI
pa Ave.. Chicago. 111. riXUL.!
P\c**c send dm I K I I trial supply of FIBS, the
ifnpon. milled in pUm rj
FRENCH FOLLIES
t iwrfunn*
KIT'
■If)
Hi
$+00
I I : SI.
IxirkUO
PAULRIEGER, 207 Art Center Bldg.. San Francisco
and practically all the principals
l from the D'Oyly Carte Opera
my. American Kenny Baker,
takes the- leading roll
of ■ Mikado of Japan in
Middle Arcs, who roams the eoun-
minttrel when deprived of his
ri, who is promised to
Ko-Ko, one-time tailor, now Lord High
Mr. Baker performs well,
Tlu- Pooh-Bah (Lord High Everything
i plendid in. his pomposity, Yunv-
Vtim is creditable; but it is Ko-Ko. the
bewildered comedy tailor, who is the
hilarious of all.
The chorus, the incidental music by
the London Symphony, the Technicolor,
and the settings (though not preten-
tious) all add up to a most ingratiating
whole.
PERSONS IN HIDING-Paramount
. EDGAR HOOVER, you may remem-
ber, wrote the book from which this
minor effort was taken. The cases were
real ernes in the files of the Bureau of
Investigation and the plot here has been
whipped up without losing the essen-
tial realism. Lynne Overman and Wil-
liam Henry, with Helen Twelvetrees
and sundry others, have clearly drawn
roles which they play with understand-
ing. Important is the advent of new-
comer Patricia Morison, whose work in
this film has made her a "white hope"
at the Paramount studio.
THE LONE WOLF SPY HUNT-Columbia
HERE'S Warren William again as the
Lone Wolf, this time hunting for spies.
Spies are the vogue just now, anyway.
William is being a respectable business-
man in Washington when a spy ring,
unable to open a safe, remember his
genius at this work and kidnap him.
He escapes and honestly helps the law,
his patriotism blooming. Ralph Mor-
gan is the menace. Ida Lupino, as the
Wolfs sweetheart, gets in his way but
sometimes helps and Virginia Weidler
tags along.
NANCY DREW-REPORTER-Warners
ONITA GRANVILLE, as Nancy Drew,
this time gets mixed up with a group
of journalism students who enter a
newspaper contest. The editor assigns
them unimportant stories, but Bonita
leads them onto a murder case — and
then the action starts. Frankie Thomas,
Jr., helps her out and the whole setup
is very tough on the poor murderer,
who takes a beating. This is an amus-
ing little number if you're in the mood
for Granville.
• AMBUSH-Paramount
WORE blood and thunder and shooting
this time with Ernest Truex as the
ter braiu of a gang of bank robbers.
He engineers a daylight robbery by
big vapor at the tellers and in his
forced to take along two in-
nocent victims. They are Lloyd Nolan
and Gladys Swarthout There is a beau-
tiful chase by Stolen truck and plane to
a mountain hide-out. Broderick Craw-
ford, as leader of the gang, makes his
part tell and Nolan gives charari.
his role. The surprise is Miss Swarthout,
who does not sing a note and still gives
an impressive performance.
This has thrills, romance and an in-
genious plot, all blended nicely into a
smooth production.
SON OF FRANKENSTEIN-Universal
s
UCCESS of the revival of horror pic-
tures inspired this up-to-date chiller.
The interesting thing about it is that the
material is excellent, not cheaply done
for commercial purposes. Boris Karloff,
Bela Lugosi and Basil Rathbone work
together with such an awesome effect of
terror it is almost unbearable. The old
baron's son returns to Frankenstein and
discovers the monster is still alive; he
tries to give it a brain with dismal re-
sults. Josephine Hutchinson has a small
part. Prepare for nightmares.
BOY TROUBLE-Paramount
I HE Fitch Family— Charlie Ruggles,
Mary Boland, Joyce Mathews, Donald
O'Connor and Billy Lee — here meet
their human troubles with staunch cour-
age and humor. There is a ripe pathos
which emerges after Ruggles and Mary
adopt two young boys and one of them
falls sick; essentially, however, the pic-
ture is a comedy and the laughs are
timed in the unfailing tradition of the
two top players. Take your entire fam-
ily to see this.
WOMAN DOCTOR-Republic
I HIS is a triangle piece, inexpensively
produced, with lots of drama and ade-
quate performances.
Henry Wilcoxon, Frieda Inescort and
Claire Dodd worry together through the
tangles of love, wherein Miss Inescort is
a woman physician and can't quite make
up her mind whether her duty lies with
crippled children or with her husband
and daughter. Sybil Jason is the young-
ster who decides the issue by getting
hurt. Cora Witherspoon plays her nurse.
FISHERMAN'S WHARF-Principal-RKO-Radio
WlTH Bobby Breen's face and super-
sweet young voice to work with, any of
his pictures is limited to a certain type
of sentimental treatment. This is legs
saccharine than its predecessors. Bobby
lives with Leo Carrillo and Henry Ar-
metta. fishermen, in happiness until Lee
Patrick, Carrillo's sister-in-law, comes
to join them and brings along her
frightful offspring, Tommy Bupp.
Things get unpleasant after that and cli-
max with Bobby's discovery that he is
an orphan. He sings a few songs, all in
the usual manner.
PRIDE OF THE NAVY-Republic
IF you have wondered where James
Dunn has been keeping himself, look
this up at a neighborhood theater. Here
he plays a speedboat demon who has
been kicked out of Annapolis. The
Navy wants him to design a fast torpedo
boat, but he refuses; then the Captain's
daughter, Rochelle Hudson, steps in and
he agrees.
However, Dunn is just too mischiev-
ous and things don't go very smoothly.
Horace MacMahon and Gordon Oliver
work with him, but the comedy is pretty
obvious.
BEAUTY FOR THE ASKING-RKO-Radio
NOTHING gives, here. After a long
wait, during which you are regaled with
the problems of a girl whose cosmetic-
salesman lover has jilted her for another
woman with ten million dollars, you
discover the outcome is of little impor-
tance.
"Tiis is because the triangle story
is stupid, the players not at their me-
dium best and the direction uninspired.
Lucille Ball. Patric Knowles, Donald
Woods and Frieda Inescort struggle
against hope.
CODE OF THE STREETS— Universal
THE Little Tough Guys, following
closely on the heels of The Dead End
Kids, come out in this dreary movie as
a thoroughly impossible bunch of
youngsters. One particular guttersnipe
is framed on a murder charge and given
a death sentence, although innocent.
The detective who caught him doesn't
think he's guilty and neither does the
detective's son, Frankie Thomas, who
joins the Tough Guy gang to try and
prove it.
Plenty of moral is pointed about crime
not paying.
The Gay Romance of Cary Grant
rage. "It was awful on Phyllis." he
said. Then he laughed and relaxed
again down into the red leather chair.
"I'm old and philosophic," he ex-
plained, looking neither one, since he
i-n't either, "but she's not and it got
her all upset, just when we wanted to
around and have a lot of laughs.
I think we probably will get married,
but I'm not sure. We may get married
tomorrow or we may have a quarrel
and never speak to one another again:
but. whatever we do, this much is cer-
tain: I will not live my life for a lot
of journalists. I'm not going to marry
a girl to make some newspaper a good
headline."
From which if you gather that Mr.
Grant is an individualist, you will be
perceiving the most accurate of all facts
(Continued from page 27)
about him. He free-lances today be-
cause he prefers to pick and choose his
parts. He lives in a casual, comfortable
way with Randolph Scott because that
way he has companionship when he
wants it, without any of the compli-
cations of a highly geared home or
the loneliness of a bachelor residence
in some hotel. He lives comfortably
within his income, worried neither about
the past nor the present. But he is
smart enough to realize that marriage
in Hollywood is just the reverse of
marriage anywhere else. In any other
community marriage means security
and settling down. In Hollywood it
usually means insecurity and settling
up, since a married male at the box
office is distinctly inferior in appeal to
an unmarried one.
But above and beyond all, Phyllis and
he are having fun and fun is the thing
that Cary is fondest of. It is glorious
to call her ten and twelve times a day.
It is a thrill to party with her four and
five nights a week, but also to have one
or two nights when he can stay home
and read, reading being the second
thing that he is fondest of. He's in
love — completely, excitedly, deliriously.
It's all so perfect just the way it is right
now. But one night he may come home,
feeling lonely. One night Randy may
be out, Phyllis may be out, the kitchen
may be out of tea. And then. . . .
But "then" is something Cary never
worries about. "Now" is what he's keen
for. "Now" is what he lives for. And
"now" for Cary Grant, with Phyllis
smiling in it, is simply elegant.
94
PHOTOPLAY
Let's Hunt for Treasure
(Continued from page 23 1
hopping her at the airport under all
sorts of weather and load conditions;
nights were spent arguing and figuring
and dreaming. It really looked as
though this was the one treasure hunt
in the proverbial million.
Then the first blow fell.
The studio wouldn't let me go. I was
heartbroken. Bud was the guy who was
going to have all the fun . . . and he
did.
The mine flopped at the sneak pre-
view, but Bud, probably feeling I ought
to get something for my money, named
a mountain to commemorate it. Flynn*s
Folly.
To my mind, Flynn's only folly that
time was to have let a job interfere with
all the fun.
BUT there's always a recompense for
everything if you want to see it. Mine
came almost before Bud had gotten
back to Hollywood. An old ship captain
whom I'd known for years and in five
of the seven seas wandered into Holly-
wood. When I first met him, years ago,
he'd lost his ticket in some nameless
scrape in the islands. We were both
working our way beck to England on
board a tramp. As kindred souls will,
we got to swapping yarns and little by
little he told me of one of his cherished
ambitions — to unearth a vast and fabled
cache of gems and gold buried near
Addis Ababa.
We agreed we ought to have a crack
at that treasure. We were off Aden
when the Captain of the tramp we were
working on received a radio from the
owners. He was to proceed at once to
an unscheduled stop at Djibouti, French
Somaliland, and there pick up a cargo
of rubber. When word of this reached
the forecastle, Captain M. and I merely
looked at each other. Nothing else was
necessary. No discussion of plans. We
knew.
We jumped ship in Djibouti (which,
incidentally, is no place to jump ship
unless you're rich or well-connected) ,
found an amiable French colonial and
his wife with whom we stayed until our
ship had left port. They turned out to
be delightful people and Madame gave
us the name and address of her cousin
in the capital, some sort of a high-rank-
ing official.
We took the comic train down to Ad-
dis Ababa. Obviously, it was beneath
our dignity to arrive without baggage
or the full accouterments of the lion
hunt we were presumably engaged upon
at the time. A bored gentleman with
more faith in his poker ability than was
justified by his belief in two pairs pro-
vided a few items of apparel and a few
hundred francs, but we were still with-
out baggage. Nor could we interest any-
one else in taking a chance at the gam-
ing table with us.
In Addis Ababa we were met by the
Frenchman, cousin of our late hostess.
Captain M. and I both exclaimed an-
grily over the deplorable state of the
laws of Somaliland and the thieving
proclivities of all baggage agents. We
made quite a fuss about the whole thing
and, after a few drinks, we made even
more of a fuss about it. The result was
that we overplayed our hands and what
looked like a gift from heaven turned
into a boomerang.
Word of the sad plight of the two in-
dubitably wealthy Inglisi hunters
reached the Foreign Office; from there
it traveled to the Prime Minister, Ras
Somebody-or-other, and thence, I imag-
ine, to Haile Selassie himself. Now, at
that time, the Ethiopians were encour-
aging tourist trade to the limit. The
Conquering Lion of Judah wanted to
demonstrate the innate hospitality of his
people; so, forthwith, he or his prime
minister dispatched two emissaries to
the pub in which we were discussing
the country with obliging white resi-
dents, pumping them as to caravan
routes to the south and the possibilities
of moving around without a Govern-
ment escort. Native police, of course,
would be a definite handicap in smug-
gling anything out of the country if we
did happen to find something.
At that moment there was a stir in
the room. Everyone rose respectfully
and the waiters bowed low to the two
impressive-looking gentlemen. They
crossed to us with majestic austerity,
bowed and informed us that hence-
forth we were the personal guests of
His Imperial Majesty, Haile Selassie,
Emperor of Abyssinia, Ras of Tigre,
Amhara and Shoa, the Conquering Lion
of Judah, Defender of the Faith and
half a dozen more titles. At the end of
the recitation they smiled again, bowed
and led us out.
Naturally, Captain M. and I took ad-
vantage of the awed respect accorded
us by the proprietor and overlooked
the matter of the check. Such details
were beneath our new dignity.
nE were taken at once to one of the
minor palaces in the capitol and there
ensconced with full honors, a large staff
of servants, bales of fresh clothing, to-
bacco, wine and food. It looked like
what it was — a regal windfall.
But when the next train came in from
Djibouti, Ras Tafali, our Escort in Chief,
began to look strangely at us and ask
embarrassing questions. Later, our
French friend told us that the Foreign
Office was burning up the wires to
Djibouti in an effort to locate our non-
existent baggage. That same day Ras
Tafali took us on another tour of in-
spection of Public Buildings. This time
it was the local bastille — and a more
revolting-looking spot I have never
seen. It made us wonder uneasily what
the score was.
We had been there ten days and were
still no closer to sneakii g away with a
proper little caravan to cover the eighty
miles southeast to where we judged the
treasure was buried near an old Coptic
monastery . . . and the regal hospital-
ity was beginning to wear a bit thin.
Very thin, we felt.
The next Friday, the second train
since our arrival came in. Naturally,
we felt that we should meet it just to
keep up appearances, but our lamenta-
tions over the ever-missing baggage
seemed false even to us and met with
no responsive duckings from the stony-
eyed station agent. By the time we got
back to our palace we found it stripped
of its finery and its staff. One man, the
gate-keeper, remained. He handed us
a note requesting our immediate pres-
ence at the Foreign Office.
From the little hill overlooking the
town we could see the Foreign Office
and ever so many other Public Build-
ings.
We could also see the bastille.
We nodded cheerily to the gateman
and headed in the general direction of
the Foreign Office, turned abruptly off
into some back streets, grabbed our
French friend in the middle of his siesta,
snagged him for the ready cash he had
on him in case of emergencies and
sneaked quickly out of town.
tt\f°f
,"pet!le - .
You will find that New York has more to
offer when you stop at the Savoy- Plaza.
This famous hotel provides unrivalled
excellence in the spacious comfort of its
cheerful rooms, in its tempting cuisine and
its thoughtful service.
Subway direct to the
World's Fair at the door.
Henry A. Rost, Managing Director
George Suter, Resident Manager
Plan
now to make
the Savoy-Plaza
your headquarters
during your visit
to the New York
World's Fair
1939
OVERLOOKING CENTRAL PARK • FIFTH AVE. 58th TO 59th STS. • NEW YORK
APRIL, 1939
95
LASHES
/*-
ON THE UPSWING
• The hair is -w.pt up tin- \<ar.
and so are the lashes! Kurla&h
carls tin in a«j( from the eyes, lets
in more li^lit. makes the eyes l""k
and brighter. It's quick
ami painless to use, effective fur
-and the price is
only $1.
\n<l f'>r extra lash-loveliness, be
Ki i;t 1 \i it- rich nat-
ural oil- keep la- i-ier tn
curl. A touch of KORLENE on the
rubber Low- of \our Kim \-n will
r-lasting curl!
IKII-V.nrl., \| .k. ,.|. Colas
Chart. Wrllr Jjnr llriith. D.-pt.
A-l. Ci»r color of hair anil eyes.
K1JRLASH
nil" ki id \SB < OMPAlfT, ntc.
BaM I" Ml r. V ^ . Canada, Toronto, 3
1 hr (htl-* Comptmtm Eye -kraut y Line
TYPEWRITER Bargains
Cialai OrMUrwood*. Royals, etc.. rrflni*h*d 1100 office model*
■rsst , r*doe>«td to •hoax. 1 * mfar** orsr'l prie«. 10 <l»y tn*J — fuly
liiMiinlail waf li hi 10i a ilaj Pre* GaUaiqar. Limited ampply.
__ . _ ___ _ . 231 W. Monro* St.
International Typewriter Eich., o«pt.462, Chlcaxo
/ «
New Under-arm
Cream Deodorant
safely
Stops Perspiration
1. n harm dresses — does
nut irritate ikin.
2. waning to dry. Can be used
righl .ifrc-r lhaving.
3. perspiration
lays. Removes
odor from perspiration.
4. A pun white, gresseless, stain*
Loishiog cream.
5. Arrul has been awarded 'he
Approval American
Institute of Laundering, lor
being I brics.
TEN MILLION jars of Arrid
have been sold. Try a jar today!
ARRID
39 > i-'r
AT All STORES WHICH S611 TOILET GOODS
(Alio la 10 cm 0"d 59 OMll |Ort I
We lay In i all
ire heartily, until the
i train chuffed past us up
It never made more than
n hour, so it was easy to
• o.nd and lay low on the rear
inn until we crossed into French
TV.
For all I know, that treasure still lies
ath the n 11 of Ethiopia.
Personally, it can stay there.
I NEVER I do M. again until a
day not so long ago when he barged
into Hollywood. He'd read in a paper
about my purchase of the Sirocco and
my plans to go after the wily sailrtsh in
iribbees.
Now, as you have p-obably gathered
already, treasure hunters are essentially
optimistic. Captain M. was no excep-
tion. He cocked one rheumy eye at me
as he stoked his pipe and spoke ever so
casually.
"I hear you're getting under weigh
for the Barbados."
I waited.
"Very strange," he muttered, trying
to look mysterious, "I'm planning to
make a voyage there myself."
I nodded. I knew he needed no
prompting.
He lowered his voice appropriately.
"I've a map, lad. Chart. Sunken can-
non. Treasure. Isle of Pines!" He fairly
hissed that at me and then sat back
complacently to gauge its effect.
Yes — you've guessed it! Captain M.
came along.
On this treasure trip the Captain and
I fished our way from the Florida main-
land to Cat Cay and down through the
chain of islands bottling up the Gulf of
ico.
We found the cove we were looking
for near Nuevo Gerona. It was idyllic,
a perfect place for our work and we
lost no time in digging up our diving
equipment out of the hold.
I started diving as soon as the sun
was high. I dove for four days trying
to find that cannon with its treasure,
narrowing down the field of search in
concentric circles, limited by the length
of my air hose and life line. It seemed
to me that during those days every
time I came to the surface someone
handed me another frantic cable from
the studio. My next picture had been
moved up on the production schedule
and they wanted me back. They wanted
me back with almost as much determi-
nation as I had to find the cannon first.
I was on a hot lead and knew it. I felt
it in every bone. The next dive would
be it. . . .
At length I could stall the studio no
longer. I had to give up. . . .
And the day after I left, Captain M.
went down. In his first dive he lit
squarely atop the weed-grown cannon!
Intrinsically the value of that treasure
was not a great deal — most of it was
semi-precious Airican bracelets — a few
of them gold; however, as I write this
article, my paper weight is a beautifully
wrought bit of metal of African work-
manship, one bit of loot to serve as re-
minder of the Captain's and my second
treasure hunt.
* * »
Captain M. cabled me the other day
from the Isle of Pines. He's gotten hold
of another chart. A Chart of a Buried
Treasure.
So, as soon as I finish production on
"Dodge City" . . . well . . . maybe. . . .
It'll be worth trying, anyway . . .
treasure hunting always is!
Brief Reviews
Henry Fonda as his brother. Randy Scott,
Henry Hull :ind a host of ethers tear through the
mbination of a cops and Jobbers bang-up
you ever cheered through. {March)
• JUST AROUND THE C0RNER-
20th Century-Fox
Shirley Temple's studio has given her a perfect
formula for her gro\ving-up talents in this gay
Daughter of a depression ruined architect
rrell), she manages to charm a flint-
hearted old mogul into putting papa back into
big-time money. Joan Davis, Bert Lahr, Cora
Witherspoon, Bill Robinson and others do their
stuff. {Jan.)
• KENTUCKY-20th Century-Fox
Ye old Southern feuding between two aristocratic
families is brought to an end by a boy loves
girl (Loretta Young vs. Richard Greene) angle, but
the old plot you will revel in the magnificent
Technicolor shots of the Blue Grass country, the
Kentucky Derby and the southern atmosphere in
general. An orgy for horse lovers. (March)
LAST WARNING, THE-Universal
Detectives Preston Foster and Frank Jenks
manage to trace a blackmail note through a laby-
rinth of guc-ts at a house parly, undeterred by
murders and kidnappings. There's not much gore
and hardly a shock scene. {March)
LITTLE TOUGH GUYS IN SOCIETY-Universal
The guys have quite a gay time when they get
an invitation from Mary Boland to take a vacation
■nk ratate. They use some boy psychology
to make a man out of rich brat Jackie Searle, finally
foil a holdup, li you like this sort of pudding. {Feb.)
• MAO MISS MANTON, THE-RKO-Radk)
Mite Stanwyck, carrying her fur- with great
aplomb as a Park Avenue heiress, runs afoul a
murder in the first reel. Bodies continually dis-
appear, but "Babs" and her coterie of debs clear
rime wave in a swank way to the disgust
oi Henry Fonda, a bard-worklng reporter. You will
grin like atlly all Hie way through. (Jan.)
• MEN WITH WINGS-Paramount
Due to expert technical direction and Techni-
a the a an exciting, it' ski ■
I men's conquest of the air from the Wright
■
1 mpbell,
cMurray and Ray Milland. (Jan*)
NANCY DREVY-DETECTIVE-Warners
An* t ■ .| nothing to hold your
[I has Bonita Granville playing sleuth
luaie kidnapped
n endow a swimming pool. Short-wave
trrier pigeons are c.i-t In supporting
March)
• OUT WEST WITH THE HARBYS-M-GM
The I imusing series, this cannot fail
e in it- own right. The //
■ <■, [Ha I'.ttk.
inching, find the Wild W<
I toughl it would be. The-/
idiculoUfl chestnuts out of
PACIFIC LINER-RKO-Radio
• Mrl.iitl.n n<l Wendy
bitter end through a cholera
ilpboard; \ li a engineer,
CtoT and Wendy .1 the run le.
Manh)
PARDON OUR NERVE-20th Century-Fox
In this, you get Lynn Bar! and June Gale as
The situation is good
or a tew laugh; with "Big Boy " Williams and
(Continued jrom page 6)
Edward Brophy gagging as if they meant it.
Michael Wlialen supplies the romance, such as it
is. (Feb.)
• PARIS HONEYMOON-Paramount
Bing Crosby is a rich cowboy who has quite a
todo making up his mind whether to marry a
Paris divorcee (Shirley Ross), or a little peasant
wench (Franciska Gaal). The Bing has developed
what might be called "Crosbian humor," dry,
happy and superbly modern, and Franciska Gaal
has plenty of sex with a smile. Elegant. (March)
PECK'S BAD BOY AT THE CI RCUS-RKO-Radio
This tale is just what you expect it to be. with
Tommy Kelly being much too angelic for "Peck's
Bad Boy." Benita Hume (Mrs. Ronald Colman)
and Spanky McFarland are in the cast. The kids'
bikes will all be lined up in front of the theater,
but you better skip it. (Feb.)
•PYGMALION-Pascal-M-G-M
George Bernard Shaw's wit and wisdom trickle
delightfully through his first full-length picture. A
modern interpretation of the tale of the sculptor
who falls in love with his statue, this had to do
with a professor of languages who adopts an ignor-
ant flower girl, builds her into a beauty, falls in
love with his experiment. Leslie Howard, Wendy
Hiller and Wilfred Lawson are brilliant — so is the
production. Please go. (Feb.)
RIDE A CROOKED MILE-Paramount
Leif Erikson and Akim Tamiroff in a jumbled
yarn of an ex-Cossack who lands in Leavenworth
while his son joins the Army to help Papa e
the law. Frances Farmer is the woman who clings
through Thick and Thin. (Feb.)
SAY IT IN FRENCH-Paramount
When Ray Milland returns from Europe with a
secret French bride (Olympe Bradna), he discovers
!'
ic
HOW WELL DO YOU
KNOW YOUR HOLLYWOOD?
Check your answers to the statements
on page 92 with these correct ones:
1 . Deanna Ducbin
2. Annabella
3. Jane Wyman
4. Donald Crisp
5. Olympe Bradna
6. Loretta Young
7. Lewis Stone
8. George Raft
9. Edward G. Robinson
10. Eleanor Powell
I I . Fred MacMurray
12. ZaSu Pitts
13. Maxie Rosenbloom
14. Walter Connolly
I 5. Max Baer
16. Gilbert Roland
17. Jeanette MacDonald
18. Grace Moore
19. The Fredric Marches
20. Harold Lloyd
his mother plans to announce his engagement to
Irene Hervey, an heiress who can hoist the family
bank account. Out of such a situation comes some
excellent comedy. The supporting cast is in top
form. (Feb.)
SECRETS OF A NURSE-Universal
Put a nurse, a crooked fight racketeer, a criminal
lawyer, a prize fighter together, yell "Roll em"
and you gel this. Nurse Helen Mack loves fighter
Dick Foran; attorney Edmund Lowe loves Helen;
nobody loves anybody else, and someone is killed.
Oh well . . . (Feb.)
SERVICE DE LUXE-Universal
Golly, this is a bad picture. There was originally a
good idea in a woman running a personal service
bureau while on the lookout for a husband, but the
humor missed fire. Connie Bennett is the inventive
business gal. Vincent Price (late of "Victoria
Regina" on the stage) does nicely in his first screen
r61e. (Jan.)
SHINING HOUR, THE-M-G-M
A somewhat tarnished story of a dancer who
marries a rich Midwesterner. The psychology be-
hind his snobbish family's reactions is slightly
dated, but Joan Crawford and Margaret Sullavan
both give magnificent performances. The rest of
the cast — Melvyn Douglas. Robert Young and
Fay Bainter — are too good also to miss. (Feb.)
SMILING ALONG-20th Century-Fox
Mother England's highest paid movie star
ting around as the leader of a vaudeville
touring the Thames countryside. Grade
Fields lias to be seen to be appreciated; both her
comedy and her singing are simply corking. She
has fun and so will you. {March)
SPRING MADNESS-M-G-M
Add another college picture on the not-so-hot
side. La*w Ayr I who doesn't
want to get married. Bui Maureen O'Sullivan s
gal-pals gang up on htm and everything winds up
(including his hopes for a free life)' at the spring
Burgess Meredith, as Ayres' friend, hams
a little. (Feb.)
• STAND UP AND FIGHT-M-G-M
A well -knit fa <t -action story laid against the
ructions background of slavery and the rivalry
between the old stagecoaches and the new rail-
roads in Maryland. Robert Taylor is handsomely
the proud young Southerner, Florence Rice
i. Wallace Beery is touch, Helen Broderick
is humorous — the whole shebang is great stun*.
STORM OVER BENGAL-Republic
A just-so melodrama, this has the oldest of
nd a simulated English accent. Patric
Knowles is the intelligence service aviator who di —
Station among native
tribes; Dick Cromwell >■■ and Rochelle
Hudson i- the only girl in the carload. (Feb.)
STORM, THE-Universal
A whirlwind 01 action lakes place in this minor
drama. Charles Blckford, he-man wireless opt
in Barton MacLane put on terrific
brawls when Blckford's pal, Preston Foster, dii
Ipboard. Tom Brown and Nan Grej
loverlike; Andy Devinc and Frank Jenks supply
the comedy. (Jan.)
• SUBMARINE PATROL-20th Century-Fox
An excitingly well-handled story of the splinter
fleet, that World War group of ships which hunted
enemy submarines. Richard Greene is thi
snob shown the error of his ways by Nancy Ki 11)
(Zanucle'a new lind — and nice); Preston Foster
is swell as the officer who heroically regaii
lost reputation. Very fine. (Jan.)
96
PHOTOPLAY
• SUEZ— 20th Century-Fox
If you like your history artistically (if not too
truthfully) told, you will be highly entertained
watching Tyrone Power, as Ferdinand de Lcsseps.
dig the Suez Canal. Loretta Young, as Empress
Eugenie, and Annabella, as a French gamin with
a heart of gold, take his mind off his work at times.
The photography, the simoon sequence and the
supporting cast are exciting. (Jan.)
• SWEETHEARTS-M-G-M
The new Jeanctte MacDonald-Nelson Eddy film
has the famous team married, playing in a stage
success, separated by the machinations of Frank
Morgan, a producer, Mischa Auer, a playwright,
and Reginald Gardiner, a Hollywood agent. This
has beauty and the delicious melodies of Victor
Herbert sung by the pair — both in perfect voice.
(You'll go without any of our remarks.) (Jan.)
SWING, SISTER, SWING-Universal
Bean porridge in the pot, quite, quite cold. Ken
Murray and Johnny Downs are the small-town
jitterbugs in the big city, who find success, go back
to home sweet home to start a parage. Eddie
Quillan is in there pitching. (.March)
SWING THAT CHEER-Universal
You swing it — we give it to you. We're kind of
tired of football at this point, but maybe you can
get some excitement out of Tom Brown and
Robert Wilcox having a misunderstanding over
Constance Moore. Finally, there's the day of
The Big Game, tra-la-la. (.Feb.)
• THANKS FOR EVERYTHING-20th Century-
Fox
Americanism and democracy are the keynotes
in this highly amusing comedy built around the
nation's sample average man chosen by two ad-
vertising demons, Adolphe Menjou and Jack
Oakie. Jack Haley's "average" reactions will make
you roar and the romance quotient is supplied by
Arleen Whelan and Binnie Barnes. Have a good
time. (Feb.)
• THANKS FOR THE MEMORY-Paramount
As "Thanks for the Memory" was such a song
hit, Paramount decided (and right they were) to
jive us this film by way of an encore. Bob Hope and
Shirley Ross are reunited as the young married
:ouple who have trouble for a roommate. One of
Lhe best comedies of the montb. (Feb.)
• THERE'S THAT WOMAN AGAIN-Columbia
In this delightful film sequel to "There's Always
1 Woman," Joan Blondell has been miraculously
:hanged into Virginia Bruce, but Melvyn Douglas
rontinues on in his role of high-class detective
Whose giddy wife decides to crack the big jewel case
n her own way. Sparkling and ingratiating. (Feb.)
k THEY MADE.ME A CRIMINAL- Warners
You may feel that the "Dead End" kids need a
3ath and a spanking, but here they are again,
slit-eyed as ever, co-starring with Warner's new
ind, John Garfield, in a suspenseful tale of a petty
rrooked prize fighter. Ann Sheridan adds plenty
>f uumph and Garfield lives up to his reputation
magnificently. (March)
rOM SAWYER, DETECTIVE-Paramount
You might recall that this is the story of Tom
tnd Huck Finn on Uncle Silas' farm; there's a
nurder and there are twins to make the mistaken
dentity theme hold good. This was a swell yarn
vhen Mark Twain wrote it, but things aren't
is they used to be. (March)
rOPPER TAKES A TRIP-Hal Roach-United
Artists
This is a dishful of whip cream for them that
ikes it. Roland Young again plays his bewildered
vhimsical banker, Billie Burke again flutters
hrough as his dissastisfied wife. Alan Mowbray
s again the humorous butler and Connie Bennett
s again the ghostly heckling friend in need. The
process shots have novelty value. (March)
k TRADE WINDS-Wanger-United Artists
Fraught with suspense and action, this drama
lits up and down the scale of human experience
ind half around the globe before the climax,
suicide, murder, flight and pursuit are all in a
lay's work to Joan Bennett, Fredric March, Ralph
3ellamy, Ann Sothern, Sidney Blackmer and
Hiomas Mitchell. A lively and entertaining evening.
Feb.)
JP THE RIVER— 20th Century-Fox
If you are not sick of prison pictures, you may
ind some humor in this remake (it was originally
ilmed eight years ago) kidding the prison system.
Preston Foster and Arthur Treacher are the con-
idence men in stir who discover Tony Martin
ibout to make a break for freedom. They fix
lungs up just dandy and in addition steal the show.
.Feb.)
k WINGS OF THE NAVY-Warners
Here's another American documentary film which
In- Warners do so well. This has the additional
virtue of a good love triangle (John Payne, George
Srent and Olivia de Havilland) merged with the
ascinating pictorial details of the naval air service,
rhe crash and stunt sequences are fine and dandy.
March)
k YOUNG DR. KILDARE-M-G-M
Lionel Barrymore and Lew Ayres both handle
.heir jobs with sincere competency in this conven-
.ional story of a veteran physician's faith in a
r'oung intern who prefers a metropolitan hospital
vard to country practice, lands in trouble when he
iefies a rich patient. Jo Ann Sayers (new to films)
s Ayres* romance. (Jan.)
k YOUNG IN HEART, THE-Selznick-U. A.
Introducing a giddy family which lives by its
■vit- on other people's pocketbooks. Billie Burke is
:he flighty mamma; Roland Young, the upstart
ather; Janet Gaynor and Doug Fairbanks. Jr.,
brother and sister. Paulette Goddard is Doug's
leart interest, Richard Carlson, Janet's. Minnie
Dupree is elegant as the rich old lady who changes
the family's tune. A good job. (Jan.)
it ZAZA— Paramount
Gloria Swanson originally emoted in this meller-
drammer of the woes of a French musical star who
Falls in love with a man who she discovers is
already a husband and a father. This has been
heavily censored, but the charm of Claudette
Colbert and the splendid cast, headed by Herbert
Marshall, Bert Lahr and others, make it important.
(March)
jSSSBS,
CORNS
^!f^i»»s,F„o,tfrrl',atfs,
Casts of Current
Pictures
NEW
Seal-Tip
Scalloped
Edge!
.^JB
Instantly Relieves Pain
Wherever Shoe Rubs, Presses or Pinches!
Stop suffering! Get this world-famous foot author-
ity's new discovery — the New Super-Soft Dr. Scholl's
Zino-pads! 630% SOFTERIThese soothing, flexible,
Kurotex cushioned pads of countless fleecy fibers
instantly relieve painful corns, callouses and bunions;
stop friction and pressure on the sensitive spot; avoid
"breaking-in" discomfort of new or tight shoes.
New thin SEAL-TIP Scalloped Edge molds pad to
toe; prevents wear and tear of sheer hosiery. Water-
repelling — stays on in bath.
New Separate Graduated Medications included for
quickly removing any size corns or callouses.
Big increase in quantity— NO EXTRA COST— 1 J
Corn Pads and 12 Separate Medications only 35c
box everywhere. Sizes for Corns,
Callouses, Bunions, Soft Corns
between toes. Get this new
relief today!
NEW-V^f
D-r Scholl's
Zino-pads
FREE OFFER! Mail coupon to Dr. Scholl's,
Inc., Chicago, 111., for FOOT booklet and sample
of New Super-Soft Dr. Scholl's Zino-pads for
D Corns, D Callouses, D Bunions, D Soft Corns
between toes. (Please check size wanted.)
Name ....
Address .
STRONGER*
MORE ABSORBENT
AT 5 AND 104 AND BETTER
DEPARTMENT STORES
Solo
CURLERS . WAVERS • BOB PINS
AT 5f* & lOf* STORES
"AMBUSH" — PARAMOUNT. — Screen play by
,.nd S. J. Perelman. Story by Albert Ray.
J by Kurt Xeuman. The Cast: Jane Hart-
man, Gladys Swarthout; Tony Andrews, Lloyd
Nolan; Charlie Hartman. William Henry; Inspector
. William Frawley; Gibbs, Ernest Truex;
I, Broderick Crawford; Sheriff, Rule I
Blue, John Hartley; Captain Gonzales,
Antonio Moreno; Captain Bosen, Harry Fleisch-
mann; Cora, Polly Moran; Mechanic, Richard
Denning; Storekeeper, Raymond Halton; Fop
Slebbins, Clem Bevans; Sam Moore, Max Hoffman,
Jr.; Bank Teller, Archie Twitchell; Bank Guard,
Wade Bolder; Woman, Jane Dewey; Child, Billy
Lee.
"BEAUTY FOR THE ASKING"— RKO-
Raoio. — Screen play by Doris Anderson and Paul
Jarrico. Story by Edmund L. Hartman. Idea by
Morton and Adele Burlington. Directed by
Glenn Tryon. The Cast: Jean, Lucille Ball; Denny,
Patric Knowles; Jeffrey, Donald Woods; Flora,
Frit-da Inescort; Given, Inez Courtney;
Maricle; Patricta, Frances Mercer; Peggy, Whitney
Bourne; Cyril, George Andre Beranger; Jean's
Secretary, Kay Sutton; Lois, Ann Evers.
"BOY SLAVES"— RKO-Radio— Screen play
by Albert Bein and Ben Orkow. Directed by P. J.
Wolfson. The Cast: Nellie, Anne Shirley; Jesse
Thompson, Roger Daniel; Tim, James McCallion;
Miser, Walter Ward; Lollie, Charles I'
Knuckles, John Fitzgerald; Tommy, Frank
Paul White; Pee Wee. Walter I
Charles Lane; Graff, Alan Baxter; Drift B"
Kohler, Sr.; Sheriff, Arthur Hon); Camp Cook, Olin
Howland; Harvey, George Breakstone; Jesse's
Mother, Helen McKellar; Freddie, Jimmy Zahner;
Snob. Charles Peck; Small Town Judge, J. M.
Kerrigan; Motor Cop, Adrian Morris; Brakeman,
William Pawley; Truck Drivers. Paul Guilfoyle and
Rube Demarest; Farm Woman, Leona Robert;
Store Clerk, Irving Bacon.
"BOY TROUBLE"— Paramount— Screen play
by Laura and S. J. Perelman. Based on a story by
Lloyd Corrigan and Monte Brice. Directed by
George Archainbaud. The Cast: Homer ( .
Charles Ruggles; Sybil Filch, Mary Boland;
Patricia Fitch, Joyce Mathews; Butch (age :
Donald O'Connor; Joe (age six), Billy Lee; Mr.
. Andrew Toombs.
"CAFE SOCIETY " — Paramount. — Original
Story and screen play by Virginia Van L'pp.
Directed by Edward H. Griffith. The Cast:
Christopher, Madeleine Carroll; Chick O'Bannon.
Fred MacMurray; Bells Bro-.vne, Shirley Ross; Mr >.
DeWiU, Jessie Ralph; Old Christopher Guest, Claude
Gillingwater; Sonny DeWiU, Allyn Joslyn; Prime
Vladimir, Don Alvarado.
"CODE OF THE STREETS"— Universal.—
Original story by Arthur T. Herman. Screen play
by Arthur T. Horman and Gordon Kahn. Directed
by Harold Young. The Cast: Lieut. Lewis, Harry
Carey: Chick Foster, Leon Ames; Bob I
Frankie Thomas; Danny Shay. James McCallion;
Tommy Shay, Paul Fix; Halstead, Marc Lawrence:
Street Kids (Little Tough Guys), Sailor. Harris
Berger; Murphy, Hally Chester; Monk, Charles
Duncan; Trouble, Wm. Benedict; Yap, David
Gorcey.
"FISHERMAN'S WHARF" — Principal-
RKO-Radio. — Original screen play by Bernard
Schubert, Ian Hunter and Herbert Clyde Lewis.
Directed by Bernard Vorbaus. Tiie Cast; Tony,
Bobby Breen; Carlo, Leo CarrUlo; Beppo. Henry
ArmeUa; Stella, Lee Patrick; Angelina, Roaina
tialli; Rudolph, Tommy Bupp; Pietro, George
Humbert; Luigi, Leon Belasco; Tony's Gang,
Salvatore Dimino, Leonard Kibrick, Stanton Mu,
Jackie Sailing. Ronnie Paige, Milo Machetti. Jr.;
Priest, Reverend Dodd; Slicker lhe Seal, Himself.
"FOUR GIRLS IN WHITE"— M-G-M.—
play by Dorothy Yost. Original story by
lie Bucknall and Endre Bohem. Directed by
S. Sylvan Simon. The Cast: Norma Page, Florence
Rice; Gertie Kobbins, Una Merkel; Patricia Page,
Ann Rutherford; Mary Forbes, Mary Howard; Dr.
Stephen Melford, Alan Marshal; Robert Maitland,
Kent Taylor; Express, Buddy Ebsen; Miss Tobias,
Jessie Ralph; Miss Bennett, Sara Haden; Doctor
Sidney, Phillip Terry; Doctor Phillips, Tom Neal.
"GUNGA DIN" — RKO-Radio. — From the
poem by Rudyard Kipling. Screen play by Ben
Hecht, Charles MacArthur, Joel Sayre and Fred
Guiol. Directed by George Stevens. The Cast:
Culler, Cary Grant; MacChesney, Victor McLaglen;
BaUantine, Douglas Fairbanks. Jr.; Emmy Slebbins,
Joan Fontaine; Gunga Din, Sam Jaffe; The Master,
Eduardo Ciannelli; Colonel Weeks, Montagu Love;
Major Mitchell, Lumsden Hare; Higginbolham,
Robert Coote; Ganesha, Abner Biberman; Slebbins,
Cecil Kellaway; Telegraph Operator, Charles
Bennett.
"HONOLULU" — M-G-M. — Screen play by
Herbert Fields and Frank Partos. Directed by
Edward Buzzell. The Cast: Dorothy I
Eleanor Powell; Brooks Mason"and George Smith.
Robert Young; Joe Duffy, George Burns; Millie De
Grasse, Grade Allen; Cecelia Grayson, Rita John-
son; Mr. Horace Grayson, Clarence Kolb; Xursc,
Jo Ann Sayers; Gale Brrwster, Ann Morriss; Wong,
Willie Fung; 1st Detective, Cliff Clark; Ind I).
Edward Gargan; Washington, Eddie Anderson;
Psychiatrist, Sig Rumann; Eve. Ruth II
Dancing Girl, Kealoha Holt; Jailer, Edgar
Dearing.
" IDIOT'S DELIGHT "—M-G-M— Screen play
by Robert E. Sherwood. From the Pulitzer Prize
Play "Idiot's Delight" by Robert E. Sherwood.
Directed by Clarence Brown. The Cast: Irene,
Li
LEG SUFFERERS
Why continue to suffer without attempt-
ing to do something? Write today for
New Booklet— "THE LIEPE METHODS
FOR HOME USE." It tells about
Varicose Veins. Ulcers and Open Leg Sores.
Llepe Methods used while you walk. More
than 40 years ot success. Praised aDd en-
dorsed by multitudes. — — —
LIEPE METHODS. 3284 N. Cr.en Ba, Ave.. JTTrfM
Oopt. D-36. Milwaukee. Wisconsin l*lifaWJ
BEAUTY SECRET
OF SOME
OF NEW YORK'S
LOVELIEST
MODELS
Models who must daily face truth revealing
cameras are far too smart to ever let constipa-
tion result in dull eyes, headaches and the
aggravation of blemished skin.
They consider i t wise not to let the second
day pass and how smart they are to rely on a
purely vegetable laxative like Dr. Edwards'
Olive Tablets, used so successfully for over 20
years by Dr. F. M. Edwards in treating his
patients for constipation.
Olive Tablets are harmless — they contain no
harsh drugs. They ALSO (important) help stim-
ulate liver bile to help digest fatty foods. Test
Olive Tablets TO-NIGHT! lot, 'iOt and 60*.
Dr. Edwards' OLIVE TABLETS
APRIL, 1939
97
EYEBROW PENCILS
ni
H:
■ou w
■,
Brown,
LUncr).
LARGEST SELLING EYEBROW PENCIL IN THE WORLD
WAKE UP YOUR
LIVER BILE...
Without Calomel
— And You'll
Jump Out of Bed
in the Morning
Rarin' to Go
The liver should pour out two pounds of liquid
bile onto the food you swallow every day. If this
bile is not flowing freely, your food doesn't digest.
You get constipated. Yourwhole system Is poisoned
and yuu fttl sour, sunk and the world looks punk.
A mere movement doesn't get at the c;;
ood. old Carter's Little Liver Pills to
get the— two pounds of bile flowing freely and
make you feel "up and up." Harmless, gentle, yet
nmazing in making bile flow freely. Ask for Carter's
Little Liver Tills by name. 25c at all drug stores.
We call it . .
TAPATIA
/( ', / hat Smart .Vfe . , . d
Huarachi That Mad* Its Dtbul
I > i n South Latl Season
The color is pure white, of soft
washable leather, for spring and
summer wear. An utterly com-
fortable sandal with the distinc-.
tion of a handmade thing. You*
sue is in stock, just mention .1 dnrl
send outline of foot, together
wlh $*175
Immediate Delivery W —
• i
-,. . wt.,i. p«p„i,lro
SfcNtA
SHOP
A El. NEW V
lasher; W,
-. l-.-UI.
I'.ml.i
uidenc
I l II Rl I l>< >M RIN Iriginal
Mi Laglcn;
..." Charles
liuiti i H. B. Wamei .
. Iburn; "Bumper" J<
, . r Bardctlc; "Pop" IV Okie. George F.
n Heydt; "Ma"
Iden; "Curly," Eddie Dunn;
Hi<ks, C. E. Anderson.
"KING OF THE TURF" — Sm ui I'm i i n
Artists. Original screen pl.iy by George Bruce
Directed by Alfred E. Green. Tin- Cast: Jim
Jphe Menjou; Goldie, Roger Daniel;
Mis. Bants, Dolorei Coatello; Mr. Barnes, Waltei
Abel; Grimes. Alan Dtnehart; Arnold, William
Denial i, Harold Huber; Murphy,
Mi Kay; ( are. Lee M. Moore; Bartender.
. . CUH Nazarro; S
ndler; Taylor. Milburn -
< harles Mc \v \ ; Interne, W
Bakcwi Harry Semel
Id Kerr; Pony Man. Tommy Quinn;
Broker, Barlow Borland; First Trainer.
- Sherlock; Second Trainer, Eddie Chandler;
Auctioneer, Tom Ilanlon; Groom, Snownake.
"LONE WOLF SPY HUNT. THE
LUMBIA. — Original from the stories of Louis Joseph
Directed I dfrey. Tin I
..'. Warren William; Vol, Ida Lupino; Karen,
Rita Hayworth; Spiro, Ralph Morgan; Patricia,
Virginia Weidler; Devans, Tommy Dugan; Palmer,
Murray; Jenks, Hen Weldon; Thomas, Don
Beddoe; Waller, Marek Windbeim.
•MADE FOR EACH OTHER"— Sblznick-
n play by Jo Swerling.
Directed by John Cromwell. The Cast: Johnny,
I i i.le Lombard; Judge Doo-
liltle, Charles Coburn; Mrs. Mason. Lucile Watson;
Ruth Weston; Carter, Donald
: Higgiru Twins, Tully Marshall; Office Boy,
Mickey Rentschler; Beauty Shop Operator. Ruth
Warren; 1st Cook, Esther Dale; 2nd Cook. Renee
3rd Cook. Louise Beavers; Doctor's Secre-
lla Walker; Eli valor Starter, Robert Bmmett
Harlan Briggs; Jury Foreman,
Arthur Hoyt; Obstetrician, Robert Strange; Baby,
Jackie Taylor: Blondie, Ruth Gillette; Waiter.
Chandler; Drunk, Grady Sutton; Dr.
Healy, Harry Davenport; Simon, Ivan Simpson;
Sister Madeline. Alma Krugcr; Pathologist. Robert
Haynes; Western Union Clerk, Charles Lane;
Messcrsclimidl, Edwin Maxwell; Hutch, Harry
Depp; Younger Doolittle, Ered Fuller; Gambler,
Stanley Ridges; Plug Ugly. Frank Moran: Pro-
prietor of Black and Tan Cafe, Harry Tyler;
., House Skill, Paul Fix; N. Y. Police Ser-
Francis Ford; Policeman, Grant Withers;
Hotel Clerk. Lucien Littlefield; N. Y. Mounted Cop,
Ed Deering; Newark Airport Operations Mgr.,
Robert Elliott; Radio Operator. Irving Bacon; Asst.
i ipcrator, Milburn Stone; Conway, Eddie
Quillan; Collins, Russell Hopton; Ration, Ward
Bund; Rock Springs Radio Operator, Jack Mulhall;
i Operator. Gary Owen; No.
Radio Operator, Carlisle Moore; Chicago Radio
Operator, Victor Kilian. Jr.; N. Y. Hospital Dr.,
Harry Worth; John Hopkins Doctor, J. M. Sullivan;
Parmer. Olin Howland; Farmer's Wife, Fern
Emmett; Nurse, Marjorie Wood.
" MIKADO, THE" — Universal. — Operetta
written by W. S. Gilbert and A. Sullivan. Directed
by Victor Schertzinger. The Cast: The Mikado of
. John Barclay; Nanki-Poo (His Son). Kenny
Baker; !\<>-Ko (Lord High lixeculioner). Martyr]
Poo-Bah (Lord High Everything Else),
inville: Pish-Tush (A Noble Lord).
iv Stroud; Yum-Yum, Pitli-Sing. Peep-Bo
(Three Sisters and Wards of Ko-Ko), Jean Colin,
ih Paynter, Kathleen Nayior; Kalisha (an
elderly lady in love with Nanki-Poo), Constance
Willis; Chorus of School . Guards and
i el irua of the D'Oylv Carte Opera
itiy.
•X VNCY DREW— REPORTER"— Warners.
— Original screen play by Kenneth Garnet. Based
on the "Nancy Drew'' i rolyn Keerre.
Directed by William Clemens. The Cast: Nancy
o La Granville; I . John Litel;
Ted Nickerson, Frank Thomas, Jr.; Mary Nicker-
1 . ' ' Lambi rl, Larry Williams;
Bonnie Lucas, Sheila Bromley; F.ula Denning,
Betty rhomas , Capt.
nk Orth: Killer Perkins, Dickie Jones;
... Rente Riano: S ■ . Jack
Perry; Whitney, Charli Halton; Deputy Ihst.
. I eonard Mudie: Poll
Guhl; Coroner, William Gould; Deputy Coroner,
Jack Mower.
"ONE THIRD OF A NATION"— Orlob-
PaRAN a the play by Arthur Arent.
Adapted by Dudley Murphy. Directed by Dudley
Murphy. The Cast: Mary Rogers, Sylvia S
i orllanl, Leif Erikson; Sam Moon, Myron
McConnicM; Donald Hinckley, Hiram Sherman:
i Lumet; Ethel Cortlant, Muriel
Hutchinson; Aril-,., P icy Waram;
. Otto Hulitt; John (Butler),
Horai • S m lair; Myrtle. It Vdrl in; • !•
Charli ' frs. Rogers, Edmonia Nolley; Mr.
Hugh Cameron; Ml . Julia
tit, H.iruch Lumet; Inspector
Byron Russell: Building Inspector, I
../or Waller, Wayne Nunn; .!/>
. Max Hi' i h: Mrs. Cohen (/'
Golding; Mm, Bea Hendricks; Jim, William Pot*
"PERSONS IN HIDING" — PARAMOUNT. —
Screen play by William R Lipman and Horace
. from J. Edgar Hoover's book of the same
REDUCE
The Hollywood Way
HERE il is . . . the new Sylvia of Hol-
lywood book you have been waiting
Streamline ) our Figure is another
Mine. Sylvia book destined to become a
Her. A book that goes right to the
lu.irt ui your figure troubles and gives
ymi definite, practical helps that will make
you even more attractive . . . ".'amorous
. . . desirable.
is fat spells age in any language.
Any spreading of the hips puts you in the
matron's class regardless of your year-.
In Streamline Your Figure Madame Syl-
\ ia tells yuu how to take off fat and put
n on where you want it. There's nothing
impossible about it. In fact you'll enjoj
reducing this modern Hollywood way.
Streamline Your Figure is more than a
reducing book. It tells you how to acquire
beautiful legs . . . how to improve the
appearance of your breasts . . . how to
have a lovely neck ... a beautiful back
and a well proportioned face. The pages
of this book are packed to the brim with
practical instructions illustrated by 32 full
page photographs from life. Moreover.
you can carry out Sylvia's simple instruc-
tions in the privacy of your boudoir.
Read Mme. Sylvia's new book and regain
the loveliness and physical charm that you
have let slip through your fingers. The
price of this new hook is but $1 at all
booksellers or from publishers direct.
Macfadden Book Co., Dept. P4
205 E. 42nd St.. New York. N. Y.
KILL THE HAIR ROOT
jvc superfluous hair privately at home,
wing directions with ordinary
The Mahler Method poslttvi
i the hair from BTOwlnfj asain by kill-
, the hair root. The delightful relief
11 bring happiness, freedom of mind and
uccess. Backed by 4 5 yi
I use all over the world. Send
imps TODAY for Illustrated Book-
■w to Remove Superfluous Hair
b7 J. Mahler CO., Dept. 570, Providence, R. I.
IFyou feel SUNiT
Read this and cheer up
Are you so blue that life is no longer worth living?
Do you cry easily? Do you feel low, mean, depressed
—just absolutely SUNK?
Then here's good news for you in case you need
a good general tonic — Just take famous Lydia E.
Pinkham's Vegetable Compound. Let its wholesome
herbs and roots help Nature build up more physi-
cal resistance and tone up your system, so that it
can more easily throw off the "blues" and give
more energy to enjoy life.
MILLIONS of women have depended upon this
Compound and have passed the word along to
friends and neighbors, and to their children.
For free trial bottle tear this out and send with
name and address to Lydia E. Pinkham Medicine
Company, 931 Cleveland St., Lynn, Mass.
Why not take Pinkham's Compound and go
"smiling thru"?
^VEGETABLE COMPOUND
to- tBtauiim •zSim «>L
AflERCOLIZEDteCREAM
Mike your skin young looking. Flake off the stale,
surface skin. Reveal the clear, beautiful underskin
by using Mercolizcd Wax Cream regularly. Give
your skin the combined benefits of cleansing, clear-
ing, softening, smoothing and beautifying in every
application of this single cream. Mercofized Wax
Cream brings out the hidden beauty of the skin.
Try Phelacline Depilatory
For quirk I v re inovlnc superfluous hair from face.
Sold at cosmetic counters everywhere.
Directed by Louis King. The Cart: Peler
Lynne Overman; Dorothy />>
Morison; Freddie "Gunner" Martin, J.
Carrol Nalab; Dan Waldron, William Henry; Helen
Helen Twelveln '• iUiam
-de, Judith Barrett; Bur:
William Cill., r. >t j Madanu May
; Stanley; Flo, Dorothy
Howe; J-- Butler, J,,hn Hartley; Ruti.
Waldo; - Denning; Ma !->>■
I urly, Philip Warren; Gordon
Kingsley, John Bktredge; '/.eke Branson, Richard
irdon; Male Stenographer,
John Hart; Maid, Lillian Varbo.
"PRIDE OF THE NAVY" — Republic —
Original story by Ben Markson, Saul Elkin-.
Fames Webb, Joseph lloii-
ni. tn. Directed \>; I mont. The Cast:
Speed Brennan, Jan
Hudson: Jerry Rsi -
Kelly, cMahon; J'
Mrs. Falcon. Charlotte VVyntersj Brad
. Joseph Crehan; Cup/. Tyler, Charles Trow-
bridge.
N OF FRANKENSTEIN"— Universal.—
OriKinal screen play by Willis Cooper. Directed by
Rowland V. I-«-e. The Cast; Baron Wolf von Frank-
Hasil Ratht, \cr, Boris Kb
Y'gor, the Shepherd. Bela Lugosi; 1 ha VOn Frankcn-
Josephlne Hutchinson; Inspector h
Lionel Alwill; Peter von Frankenstein, Donnie
Dunagan.
"ST. I.Ot MS BLl'ES"— Paramoi-vt.— Screen
play by John C. Moffitt and Malcolm Stuart
I dialogue by Virginia Van I'pp.
on an adaptation by Frederick Hazlitt
Brennan of a story by Eleanore Oriiiin and William
Directed by Raoul Walsh. Tin
Guerney, Lloyd Nolan; Norma Malone.
Dorothy Lamour; Aunt 'J 1 . Ralph; Ivar
De Br< i Ramos, Tito.Guixar;
Ida, Marine Sullivan; Major Martingale, William
Mary Parker; Tht Band, Matty
k and Lis Boys; Sheriff, Victor Kilian; Mr.
Walter S.derlinR: Shorty, Cliff Nazarro;
Virginia Howell; The King's Men,
Grafton Lynn, Rad Robinson, Jon Dodson.
"STAGECOACH "— Wanger-Ukitbd Artists.
— Screen play by Dudley Nichols. Story by Ernest
Haycox. (Collier's story "Stage to Lordsburg.")
Directed by John Ford. The Cast: Dallas, Claire
Trevor; Buck, Andy Devine; Ringo Kid, John
Wayne; Doc Boone, Thomas Mitchell; Curly
Wilcox, George Bancroft; Gatevood, Berton
Churchill; Chris, Chris Martin; Capt. Whitney.
Cornelius Keefe; Billy Pickett. Francis Ford; Billv,
Jr.. Kent Odell; Capt. Sickel, Walter McGrail;
Indian Scout. Chief Big Tree; Mrs. Galcicood,
Berendo Fowler; Sheriff, Lou Mason; Halfield,
John Carradine; Lucy Mallory, Louise Piatt; Lieut.
Blanchard. Tim Holt; Peacock. Donald Meek;
Chris' Wife, Elvira Rios; Mrs. Whitney, Florence
Lake; Mrs. Pickett. Marga Ann Daighton; Cavalry
Scout, Yakima Canutt; Telegrapher, Harry Ten-
brook; Express Agent, Paul McVey; Bartender, Jack
Pennick; Boone's Landlady. Nora Cecil.
"TAIL SPIN"— 20th Centurv-Fox.— Original
screen play by Frank Wead. Directed by Roy Del
Ruth. The Cast: Trixie Lee, Alice Faye; Gerry
Lester, Constance Bennett; Lois Allen, Nancy
Kelly: Babe Dugan, Joan Davis; Bud, Charles
Farrell; Alabama, Jane Wyman; Dick <Tex) Price,
Kane Richmond; Chick, Wally Vernon; Sunny,
Join Valerie; Speed Allen. Edward .\orri~; .1/
.Uoort'. J. Anthony Hughes; T. P. Lester, Harry
Davenport; Mrs. Lee, Mary Cordon; Cafe Man-
ager, Harry Rosenthal; S:orckeeper, Irving Bacon;
Announcer, Sam II
"THREE MTSKETEERS. THE"— 20th Cen"-
ruRY-Fox. — Screen play by M. M. Mu>selman,
William A. Drake and Sam Hellman. Directed by
Allan Dwan. The Cast: D'Arlagnan. Don Ameche;
I ackeys, Ritz Brothers; Queen, Gloria Stuart;
Lady i P uline Moore; Milady De Winter.
Binnie Barnes: King, Joseph Schildkraut; Naveau,
John Carradine; De Rochefort, Lionel Atwill;
Cardinal Richelieu, Miles Mander; Athos, Douglas
Dumbrille; Aramis, Jolin King; Porthos, Russell
Hicks; Vitroy, Gregory Gaye; Duke of Buckingham,
Lister Matthews; Landlord, Egon Brecher; Bailiff,
Moroni Olsen; Ship Captain, Montague Shaw;
Jean Parry, Fredrik Vogeding; Captain
Fageon, Georges Renavent.
"WOMAN DOCTOR" — Republic. — Screen
play by Joseph Moncure March. Original story by
\lir< Altschuler and Miriam Geiger. Directed by
Sidney Salknw. The Cast: Judith, Frieda Incs-
Henry Wilcoxon; Gail. Claire Dodd;
i Fanny, Cora Witlierspoon; Dr.
Mathews, Frank Reicher; Dr. Martin, Gus Glass-
mire; Johnny, Dickie Jones; Louise, Joan Howard;
Veterinarian, Spencer Charters; Miss Oct
Virginia Brissac; Moxie, Rex.
"YES, MY DARLING DAUGHTER;' —
WARNERS. — Screen play by Casey Robinson. From
the stage play by Mark Reed. Directed by William
Keighley. The Cast: Ellen Murray, Priscilla Lane;
1 rey Lynn; Titus Jaywood, Roland
Ann Murray, Fay Bainter; "Granny"
in, May Rob-on; Connie Nevin
Tobin; Lewis Murray, Ian Hunter; S.-rgea nt
■, Robert 1! Officer, Edw ud
Gargai Spencer Charters; Martha,
I ttie Williams.
"YOU CAN'T GET AWAY WITH Ml'RDER"
— Wak- n play by Don Ryan, Kenneth
Garnet and Robert Buckner. From a story by
Warden Lawes. Directed by I^ewis Seiler. The
Frank WUson, Humphrey Bogart; \i
P Johnnie Stone, Billy Halop;
, Carey. John Litel; "Pop," Henry Travers;
Fred Burke, Harvey Stephens; Scappa. Harold
Huber; "Red," Joe Sawyer; "Smilly." Joe Down-
ing; "Toad," George E. Stone: Principal Keeper,
King; Warden, Joseph Crehan; Gas Station
:'it, John Ridgcly; District Attorney, Herbert
Rawlinson.
98
W f HALL PRINTING CO.
PHOTOPLAY
Here's How To
REDUCE
7Me Uotlywtod Way
HERE it is . . . the new Sylvia of Hollywood book you
have been waiting for. Streamline Your Figure goes
right to the heart of your figure troubles and gives you definite,
practical helps that will make you even more attractive . . .
glamorous . . . desirable.
Critics are lavish in their praise of this book. One l«>ok re-
viewer says, "If you are bothered with a 'spare tire' around the
waist; gobs of fat, and uneven bunches, protuberances, bumps,
or what-have-you, the author of this clever little handbook of
beauty tells you what to do for them. If you belong to the
excessively thin, nervous, stringy type, you will find advice that
will help you too."
Lb
r&k
reamiLfie ijoar ^jLciLirt
BY SYLVIA OF HOLLYWOOD
ir
Contents
&
STYLES DEMAND
BEAUTY
scle Builders Taboo
gy Calves and Ankles
ke the Legs Appear
itraighter
BREASTS . . . Preserve
■ Loveliness
Jucing the Bust
ingy and Saggy Bosoms
jport for the Breasts
I DOWN THE
RUNE
Stomach Must Be Flat
ve Your Baby and Keep
lour Figure
Eating Program for
deducing
. HIPS AWAY
duce the Rear of the Hips
Iges on the Sides of the
Hips
Word about Girdles
CALL TO ARMS
Your Arms are Thin
ming the Upper Arm
veloping the Arms
A BEAUTIFUL BACK
Backbone Builds Backbone
Straightening Up
That "Old Woman's Bump'
DO YOU WANT A
LOVELY NECK?
A Neck is a "Tattle Tale"
Trim Off Fat on the Chin
Stringy and Scrawny Necks
PUTTING CURVES ON
THE THIN GIRL
Inability to Gain
Food to Put on Weight
Liquid Health
YOU CAN STREAMLINE
YOUR FACE
Types of Faces
For Double Chin
The Perfect Nose
HOW YOUNG DO YOU
WANT TO BE?
Women Over Forty
Excess Fat Spells Age
You Can Still Have Romance
Yes, in Streamline Your Figure Madame Syl-
via tells you how to take off fat from any
part of your body. There's nothing impos-
sible about it. In fact you'll enjoy reducing
this modern Hollywood way. By following
Madame Sylvia's suggestions you fat or thin
girls will be surprised how quickly you can
acquire the alluring proportions you so much
admire in others.
Snip Ten Years Of! Your Age
Plenty of the movie stars you admire and
envy are on the brink of forty, some even
older. They are attractive because they think
of themselves as young. They are alive with
the enthusiasm of youth. Most of all they
know the value of keeping themselves at-
tractive, and looking the part. And now
you can acquire the charm and beauty of the
movie stars by following the valuable sug-
gestions of Hollywood's own Madame Syl-
via as described in Streamline Your Figure.
Beauty — From Legs to Head
Streamline Your Figure is more than a re-
ducing book. It tells you how to acquire
beautiful legs . . . how to improve the ap-
pearance of your breasts . . . how to have a
lovely neck ... a beautiful back and a well
proportioned face. Read the table of con-
tents described below and notice how com-
pletely the author covers the very subjects
you are intensely interested in.
32 Full Page Photographs From Life
The pages of Streamline Your Figure are
packed to the brim with practical instructions
illustrated by 32 full p^ge photographs from
life. Moreover, you can carry out Sylvia's
simple instructions in the privacy of vour
boudoir without the aid of any special equip-
ment whatsoever.
Regain Your Loveliness Now
Remember this, you can't acquire an allur-
ing figure by merely looking at the pictures
of the glamorous movie stars. But by fol-
lowing the practical suggestions of the fore-
most authority on the feminine form as
described in Streamline Your Figure you
can regain your loveliness.
Only SI. 00
The price of Streamline '. we is only
$1.00 a copy at all booksellers. If you are
unable to get this new book at your local
department or book store, use the coupon
below.
JUST OUT
The new S\ .
wood book Streamline Your
Figure U just off W\-
It i- '
■ x cloth and
from life
■
*l lines th<
of this trail
volume. And the
mazing book
$1.00 at all book-, i
M W I MIIH \ HOOK * O ..
90S EasI ISttd Mrcrl. K«H ^«»rk. lf.Y«
I mo. poataaja prepaid, Kba book Streamline Your Figure
by Sylvia of Hollywood. I enclose $1.00.
Dcpt. »* 4
I\'ame .
AaaVi
City . . .
r
Beech -Nut Gum |
made with care, in country air, at Flavor-Town, [Canajoharie) N.^Y
•.•;■>:•:
it
V isillhe Beech-Nut Bui Idingol the New York World's Fair.
If you drive, stop ot Canajoharie, in the Mohawk Valley
o* New York, and see how Beech-Nut products ore mode.
One otf/hmVUcab <?OOD/u*M
6INGER ROGERS
By Paul Hesse
NOT BE SOMEBODY? A Personal Challenge From LELA ROGERS, Ginger's Mother
>0 YOU SPOIL YOUR MEN? A Hollywood Lesson In Love by Faith Baldwin
/ IRENE DUNNE SUCCEEDED WITHOUT GLAMOUR by Adela Rogers St. Johns
% . . . not to decide a man's innocence or gui
but to judge a new. different kind ot tooth paste
to decide whether or nor it was an improvement o\
older types, and il it offered more tor her money
cleanliness, luster, freshness, and mouth stimulstio
On the same jury sat other women, bundm
of them grandmothers, mothers, widows, sins
women, young girls . . . rich. poor, in between,
in tiny hamlets, growing villages. \ast cities.
critical jury, as all women are in judging articles d<
affeci their beauty and their pocketbooks.
And what was their verdict on the new Liste.
Tooth Paste with its amazing Luster-Foam deti
gent? See how they voted:
Over a leading brand, the new formula
terine Tooth Paste supercharged with L
loam was a two to one favorite. Against
next two leading brands, it was a decided lau
ite. And over the fourth leading brand, it had
slight but definite edge
Their comments show why this new denri:
won such high favor: "Like that dainty 'bubble
that Luster-Foam gives.' said many. "Simply an)
the way Luster-Foam cleans and brings out 1
exclaimed others. "Delighted with the won
tceling of freshness and mouth invigorarioi
lasted long after the tooth brushing was over.
others added.
See howquickl) the new formula Listerinc
Paste with Luster- loam detergent gets teeth si
clean. An) drug counter
in two economical sizes: Rer
lar. 25r; and big. double-si
containing more than
MORE THAN % POUND
IN THE DOUBLE SIZE TUBE 40
REGULAR SIZE 1UBI-2S,
pound i '< dentifrice. HH\
bertPharmacaU .a., St. I. nun
.
WIN THEM? YES! BUT HOLD THEM? NO!
I HERE, b*-bS,YOURE
GORGEOUS FOR YOUR
NEW DATE .
I WAIrt" TUbE.SC 5 THE
ONE MAN I CARE FOR
BVE- EWE, DARLING,
DONT WAIT UP. WERE
DOING THE TOWN .
3 hours later.
BACK ALREADY '■
ITS ONLY
ELEVEN. WHAT
HAPPENED ?
WE WERE HAV-
ING A WONDER-
FUL TIME, UNTIL
RIGHT AFTER
DINNER .WHEN
CICK COT A
FRIGHTFUL
HEADACHE AND
HAD TO BRING
ME HOME .
It Wasn't His Headache ... it Was Her Halitosis!
AVUTIFUl evening eul short . . . .i budding romance
ruined ... all because of halitosis had breath).
N thing is so ratal to a woman's charm as a breath that
offends. Ami everyone may offend dm way at some time or
other, without realizing it. The wise pro aution is to rinse the
mouth with I ^ntiseptii 1 cial engagements.
This amazing antiseptii and deodorant cleans and fresh-
ens the mouth, halis fermentation, a majoi cause of
odors, and leaves the breath sweeter, purer, and more
wholesome. Remember, when you want to be at your
best, use I.istetme Antiseptic. Delightful because ol Us
pleasant taste. Lambert Pharmacal Co., St. Lams. Mo.
Before all social engagements, use LISTERINE to sweeten your breath.
I am Heathc/ijf...
I married a woman
I loathe... to &/?i>t£
the one woman
I love/
SAMUEL GOLDWYN „■
Samuel Goldwyn, Holly-
wood's premier showman,
creates the season's outstand-
ing screen drama ... a truly
great picture, adapted by
Ben Hecht and Charles Mac-
Arthur from the powerful
novel by Emily Bronte.
It it coming toon to jour
favorite theatre. . . watch for it.'
presents
I
Wuthemng Heights
<z?t otdUf of %nqefiil, JhuWited Jilt
co.^ MERLE OBERON • LAURENCE OLIVIER • DAVID NIVEN
with Flora Robson- Donald Crisp -Geraldine Fitzgerald • Released thru I'nited Artists • Directed by WILLI \M WYLF.R
IAY, 1939
r^\v^znlccC% o<*^jwu( \JXurte*, ^ciieeu, cY tw£ ^aiee^]
(22 Million Fana Voted
ll-r FIRST in a Creal
National New spaper I '< >l I )
witl. LEW AYRES • IAN HUNTER • FRANK MORGAN
nacUofl ^tfKU> brio. Wmb«*l
loVC strong enough
~~~~ V.nres. sings- »lc
.r \ teanette da,nce'. „ Changes
c J^stts^ ^c*--2--
F kM-j--i.*cr*sr««
BER1 /. LEONARD PRODl'C II ON . . . SCR I 1 MM.AV HV I'llAKI IS LEDEKIK-A Ml I RO-GOLDWYN MAYER PICTURE
PHOTOPLAY.
Pj?
T4r
°F motion *^
^
ERNEST V. HEYN
EXECUTIVE EDITOR
HEYWORTH CAMPBELL
ART EDITOR
RUTH WATERBURY
EDITOR
HIGHLIGHTS
OF THIS ISSUE
On the Covei — Ginger Rogers, Natural Color Photograph by Paul Hesse
Why Not Be Somebody? Lela Rogers 17
A personal challenge from Ginger's mother
Do Hollywood Women Spoil Their Men? Faith Baldwin 18
A free lesson in love, taught by this famous novelist
"Long Shot" MacMurray Claud* Binyon 20
Sketched by a master, a warmly human portrait of Fred MacMurray
Juarez — The Life History of a Movie Nancy Naumburg 22
All the details of the inner workings of a superfilm
How Irene Dunne Succeeded without Glamour Adela Rogers St. Johns 24
One of the most encouraging success stories ever told
Lady Clown Sara Hamilton 25
The rollicking story of a zany named Joan Davis
Play Truth and Consequences with Fred Astaire . . . Katharine Hartley 26
We did it.' We did it.' We made Fred Astaire talk
The Great Autograph Conspiracy Lillian Day 28
Here's Jane Lyons again — in a tangle with a heroic villain
Why American Men Don't Want to Marry Hollywood Women Gretta Palmer 30
A morale builder-upper for all who envy glamour girls
Portrait of a Man Who Has What He Wants .... Joseph Henry Steele 32
A brilliant interpretation of a polo-playing Irishman — Spencer Tracy
Blonde Beauty Grows Up Robert Baral 34
Carole Lombard, as revealed by a former next-door neighbor
How a Candid Camera Expert Works 44
Exposing Hyman Fink — and the amazing tricks of his trade
Photoplay Fashions Gwenn Walters 49
Stunning Hollywood fashions that set the pace for spring
Second Chance Nina Wilcox Putnam 66
The story of a great star's comeback
How Shaw Gave In! Wilbur Morse, Jr. 68
Here's why the great CBS changed his mind about movies
The Camera Speaks: —
Wuthering Heights 38
A fiction classic springs to life
We Love 'em Natural 40
The male "umphers" — plain and fancy. How do you like 'em?
Boos and Bouquets 4
Brief Reviews of Current Pictures 6
Movies in Your Home Jack Sh«r 8
How Well Do You Know Your Hollywood? 9
PHOTOPLAY'S Own Beauty Shop Carolyn Van Wyck 10
Close Ups and Long Shots Ruth Waterbury 13
Cal York's Gossip of Hollywood 59
The Shadow Stage 62
We Cover the Studios Jack Wad* 64
Fashion Letter 70
Complete Casts of Pictures Reviewed in This Issue 100
VOL. Llll., No. 5, MAY, 1939
Published Monthly by Macfadden Publications, Inc., 333 N. Michigan Ave., Chicago, 111. • Bernarr Maciadden, President • Irene T. Kennedy,
Treasurer • Wesley F. Pape, Secretary • General Offices, 205 East 42nd St., New York, N. Y. • Editorial and Advertising Offices, C-
Building, 122 East 42nd St., New York, N. Y., Curtis Harrison, Advertising Manager • Charles H. Shatruck, Manager, Chicago Office • 1
Macfadden Magazines, Ltd., SO Bouverie St., London, E. C. 4 • Trade Distributors Atlas Publishing Company, 18 Bride Lane, Lzr.dzn, E. C. 4 • Yearly
Subscription: $2.50 in the United States, $3.00 in U. S. Possessions and Territories, also Cuba, Mexico, Haiti, Dominican Republic, Spain and Pos-
sessions, and Central and South American countries excepting British Honduras, British, Dutch and French Guiana. $2.53 in Canada and Newfound-
land. All other countries $5.00. Remittances should be made by check, or postal or express money order * CAUTION^Do not subscribe th:
persons unknown to you • While manuscripts, photographs and drawings are submitted at the owners' risk, every effort will be made by this organ-
ization to tetum those found unavailable if accompanied by sufficient 1st class postage, ar.d explicit name and address. But we will not be responsible
for any losses of such ma::e: Er.iered as seccnd-class matter April 24, 1912, at the pes: office at Chicago, 111., under the act of Mm
Copyright. :539, by Macfadden Publications, Inc. Reg'.srre Nac-.cnal de la Fropieaea Ir.:e".ecrual
NEWS
VIEWS AND
REVIEWS
FUGITIVES FROM A BARBER SHOP
I WANT to express my views on a little trend
which seems to be dominating the he-men
of Movieland.
It seems to me that the male stars are quite
out of style this season. Don't they know that the
new "up" hair-do is the vogue? Stars like Errol
Flynn. Tyrone Power. Fred Mac-Murray and
Michael Whalen. to mention a few. seem to be
trying to outdo each other in seeing whose hair
will soon be long enough to roll in the back.
There's nothing I like better than to see a
neck trim, as witness Nelson Eddy in
"Sweethearts."
Maybe if they squeezed their budgets a bit
they might be able to afford the price of a hair-
cut. Anyway, here's hoping.
Ki.sn (' Li i FLEJOHN,
San Francisco, Calif.
Texan beauty — blue-eyed, brown-
haired Constance Moore — who
sang her way into movies, seizes
the first rung of the ladder to
a big career in Universal's "You
Can't Cheat an Honest Man"
tVERY effort is made to ensure that each new
heartthrob looks his very best on the screen.
His evening dress is perfect; his historical cos-
tume is specially designed to show off his hand-
some figure. We have been shown photographs
of the make-up expert giving the hero's face a
final dab of powder before he goes into a scene.
With all this care there is yet one feature neg-
lected which always looks strange to English
eyes. It is the fact that the hero's back hair is
unvariably unbrushed.
Why is this? Is it perhaps that you in Amer-
ica do not feel that lank ends of hair straying
idly above the collar detract greatly from a
man's well-groomed appearance? Anyway, it
always annoys me to see Walter Pidgeon or
Melvyn Douglas, often striking sartorial fig-
With a fringe at the back of the neck. It
is almost as bad as that other extraordinary
American habit: journalists and detectives
barging into people's houses with their hats on,
quite devoid of the most elementary good man-
ners. Cannot the make-up experts be per-
suaded to attend to this matter?
G. Livesey,
London, England.
AND
IDIOTS DELIGHT
THE title may be "Idiot's Delight," but I guar-
antee the film will be the delight of everyone!
May I salute Norma Shearer for her auda-
cious portrayal of the Russian countess and
applaud the year's jauntiest "hoofer," Clark
Gable! Nor can I soon forget the poignant
quality of Burgess Meredith's pacifist role.
Thank you, Hollywood, for taking this spar-
kling stage success and, in the medium of films,
preserving all the original dramatic punch and,
yes, in this instance, making it even better.
May such splendid casts appear more often —
and may they always have as shining a vehicle
in which to ride before the public as "Idiot's
Delight!"
Marjorie Brouillette,
Seattle, Wash.
PAY DIRT
WHY are the script writers and producers so
inconsistent? Unheralded and unadvertised
prematurely, they give us a wow of an interest-
ing, wonderfully diverting picture that goes
over with a bang, "Next Time I Marry," yet
they spoil it with several incongruous situa-
tions not in keeping with the balance of the
picture.
James Ellison is a common pick-and-shovel
laborer on a WPA project, yet he is the owner
of an automobile with a trailer, which, from
appearance, must have cost at least $500. Well
enough and forgivable — he might have had
them before going on the WPA. But, lo and
behold, he is making monthly payments on a
sailboat to the amount of $44 out of his WPA
salary. From the amount of the payments
shown in the picture, the sailboat costs over
$500. In addition, he is keeping a large dog
that must consume as much food as a human,
buying gasoline for his car, has several hundred
dollars saved up and is shown wearing a hat
that must have cost at least $10. How much do
WPA workers receive in New Jersey, the locale
of the picture? Open your gates, New Jersey,
here I come.
Frank J. McIntyre,
San Francisco, Calif.
MR. EDDY'S IN THE DOGHOUSE!
IES, I'm writing about Nelson Eddy's recent
marriage! "Angry" and "hurt" were the words
used by a columnist in describing the Eddy fans.
"Disappointed" I think is a better word for it.
"Disappointed" that a star in whom we have
put such great faith and whom we have de-
fended against any criticism should get married
without any announcement of his engagement.
His famous co-star, Jeanette MacDonald,
acted in a very gracious manner about her
wedding. She let her public know of her mar-
ital plans by announcing her engagement a year
before her wedding. Eddy's behavior has
stunned us. Frankly, we don't like it.
For years, stories have been coming out of
Hollywood, most of them issued after interview-
ing Eddy himself, that he was positively a con-
PHOTOPLAY
firmed bachelor. For years we have
believed this. At least, if he had
any intention of marrying, he should
have announced his engagement to
all the papers and set his wedding
date. Then we might have become
accustomed to his marrying — but, as
it is, we aren't!
Christina Aulisio.
New Bedford, Mass.
mY temper is aroused these days by
all this stupid talk about Nelson
Eddy and his wife. It never oc-
curred to me that when the poor
man fell in love with a lady and
asked her to become his wife that
America would be so het up. They
should be pleased, for doesn't all the
world love a lover? But the first
person I meet shouts angrily, "He
shouldn't have gotten married, we
like him single!" Now. what does
this person know about Mrs. Eddy?
She must be charming, for isn't Mr.
Eddy charming?
He should be entitled to marry the
woman he loves without all this silly
excitement. Stop this arguing,
America, and raise your glasses for
a toast: "Congratulations, Mr. and
Mrs. Eddy!"
Pamela Walker,
Pittsfied, Mass.
THE "AYES" HAVE IT!
IT seems to me that we spectacle
wearers, who comprise a large per-
centage of the movie-going public,
are taking an awful beating. Ac-
cording to the movies, all one has to
do to be completely unattractive is
to put on a pair of glasses. Now I
ask you, is that fair? Surely with
all the wonderful things that can be
done with make-up, it isn't neces-
sary to use glasses to portray the
nth degree of unattractiveness.
In no less than four recent pic-
tures, there have been references to
us long-suffering spectacle wearers.
I refer especially to "Four Daugh-
ters" in which Priscilla Lane, as one
of the daughters, consoles Claude
Rains, as the father, for having such
frivolous daughters by asking him
how he would like to have daugh-
ters who wore spectacles, in much
the same manner as she would have
asked how he would like to have
half-witted daughters.
I, for one, am getting pretty much
fed up on such thoughtless and un-
called for scenes and have already
boycotted one picture because I saw
a preview showing a scene similar
to the one mentioned above. I refer
to "Brother Rat."
This attitude on the part of the
movie-makers is doing real harm,
as there are enough young girls —
and boys, too — especially of high-
school age, who won't wear glasses,
even though they may need them
badly, because they feel it will de-
tract from their appearance. Perhaps
you think I am taking this matter
too seriously, or that I am hyper-
sensitive, but I am willing to bet
there are plenty of other people who
will agree with me.
Katherixe Rose.
Wheeling, W. Va.
LISTEN. MR. ZANUCK
MlSS WATERBURY'S idea of doing
away with most of the singing and
dancing in Shirley Temple's pictures
suits me perfectly.
Not that I haven't liked it — but one
can get too much of anything and it
is about time Shirley has a real good
story.
How about Elsie Dinsmore? Wait,
now, don't scoff. I realize that the
story would have to undergo a ma-
jor operation but that could be done
easily. It could even be divided into
a series, as long as they are so popu-
lar now.
But the main idea could be re-
tained: a poor little rich girl, with
no mother, living among relatives
who dislike her, only to have her
life made more unhappy by the re-
turn of her stern papa. Shirley could
be a more mischievous edition of
the original Elsie and perhaps sneak
in a little dance or two, when Papa's
and Miss Waterbury's backs were
turned! Ruth King.
Cranford, N. J.
SORRY. WE DON'T AGREE
I HAVE long been a subscriber and
avid reader of Photoplay. I have
always found the features interest-
ing, the gossip, as much as there is.
without evil intent, the photographs
extraordinarily good and the maga-
zine as a whole superior. However,
this is not a letter of compliments,
but rather of criticism. Criticism of
the first picture and article that my
eye fell upon in a recent issue, en-
titled "Lovers Courageous."
I admire Don Ameche, for there
are few enough motion-picture
stars that are religiously inclined.
The thing I object to is the exploita-
tion of his problems and particularly
his religion.
Such a feature might be very
apropos in a different publication,
but it is inappropriate for a movie
magazine.
Jean Sullivan,
San Bernardino, Calif.
POWERFUL TALK
n HAT'S all this commotion about
"people staying home to listen to
Tyrone Power instead of going to
see his pictures"? And what's the
idea of his removal from radio just
because some narrow-minded the-
ater owners have made the above
statement? In the first place their
theaters are filled up on Sunday
nights. But just to give them the
benefit of the doubt, suppose they
aren't. It isn't because people stay
home to hear Tyrone Power on the
radio.
More likely it is because the ad-
mission has been raised on that night
and if the public can see the same
picture on Monday night for the reg-
ular admission, they are certainly
going to do so, rather than pay more
on Sunday night.
Tyrone Power, if you ask me, is
the innocent target for a lot of
groucheimers who are jealous of his
popularity and are trying to escape
the public's demand for cheaper ad-
mission by putting the blame on him.
Well, it won't work. We want Ty-
rone back on the radio!
Florence Wittich.
St. Louis, Missouri.
darter's rayon tricots are so soft and sleek you
never know you have them on. In fact, they make
you feel downright siren-ish, for nary a ripple gives
them awav. (Ami with figger-hugging ia.-hions —
that's important!) Heaven-sent to <:al- who lead a
busv work-or-plav life ... a whisk and they're
washed ... no ironing . . . and you can pack doz-
ens and still travel light. Inexpensive? inu can
buv plentv before you'll u-e up your underwear
allowance. Particularly glamorous this season are
the chic new stvles illustrated— they're only four
of the many trimlv styled, smartly tailored new
Carter gowns, pajamas, slips, pelti^kirts and panties.
Remember it's "Carter's for Sleek Loveliness."
P
UNDERTHINGS
GOWNS — like jm* slimmest
parr, dress. Moulds I
— low hacks. Very smooth over
your hips, yet full cut for
fort. Sizes 32-46. $1.75-*3.50,
BOUDOIR JACKETS— trimly
tailored or femininelv fancy in
Bolero, Rembrandt and Choir
.'■*. Tate your pick—
vou'Il look simply divine in a
gom n -jacket ensemble in match-
ntrastine Co.
small, medium, large. 5
i$ — vouTl adore their
eon tour- tit tine smoothness and
soft, luxurious texture Beauti-
fully tailored -
com fort -giving fullness. Si
32-40. 92.5O-S3.00.
The William Carter Ompanv. Boston. New York. Philadelphia, Cleveland. Chicago, Dallas, San Francisco
Home Executive Office*: Needham Heigh--
MAY. 1939
REVIEWS
ADVENTURES OF HUCKLEBERRY FINN, THE
-M-G-M 92
BLONDIE MEETS THE BOSS-Columbia 62
DARK VICTORY-Warners ... 62
FAST AND LOOSE-M G M 92
FLYING IRISHMAN, THE-RKO-Radlo 62
ICE FOLLIES OF 1939, THE-M-G-M 63
I WAS A CONVICT-Republic 92
LADY AND THE MOB— Columbia 92
LITTLE PRINCESS, THE-20th CenturyFoi 62
LET US LIVE-Columbia 92
MIDNIGHT— Paramount 63
MY WIFE'S RELATIVES— Republic 63
NEVER SAY DIE-Paramount 63
SERGEANT MADDEN-M-G-M 63
SPIRIT OF CULVER-Univtrtal 62
TWELVE CROWDED HOURS— RKORadlo 92
WINNER TAKE ALL-20th Century-Foi . . 92
WIFE, HUSBAND AND FRIEND-20th Century-
Foi 92
YOU CAN'T CHEAT AN HONEST MAN-
Universal 92
• AMBUSH-Paramount
More blood and thunder and shooting with Ernest Tl
nil behind a KanK ol bank rubbers who. in pursuing
Ihefr deviltry, arc forced to abduct Gladys Swarthout and Lloyd
Nolan. The surprise Miss Swarthout who doesn't sing a note
but manages to give an Impressive performance. {April)
• BEACHCOMBER, THE-Mayflower-Paramount
Somerset Maugham's talc of the regeneration of an English wastrel
iti the isles of the Pacific by a fanatical female missionary has lost
fits brilliance and laughter in the screening, nor has Charles
l.aughton lost any of his lustre. Add to tins fine production Elsa
l.aticlicsters acting and you have a movie masterpiece. (March)
BEAUTY FOR THE ASKING-RKO-Radio
Nothing Rives here. You are regaled with the problems of a girl
whose Cosmetic salesman-lover jilts her for a woman witli ten
millions. The outcome is of little importance (except to the income
tax department). Lucille Ball, Frieda Inescort. Patric Knowlcs
and Donald V rk against hope. (April)
• BLACKWELL'S ISLAND-Warncrs
You remember the excellent work done by John Garfield in
IU Daug ' time he is the hard-hitting reporter who
a conditions. Rosemary Lane is the policeman's
II Jory, Stanley Fields and Dick Purccll
are in the cast. Tacks plenty of punch. (Feb.)
BOY SLAVES-RKO-Radio
If you're an Inveterate reformer, you'll probably love this With
cold anger it chooses the Deep South as locale and paints a brutal
supposed to eziat. Anne Shirley, James
Daniel all do exceptional work in morbid
el.ar.nt- \ !>ril)
BOY TROUBLE-Paramount
ry Boland and Charles Ruecle*)
adopt two b*>\ i BUly Lee. and meet tin*
inevitable living with unfailing humor. Pile
the whole family in the car— they'll like this. (April)
BURN 'EM UP OXONNOR-M-G-M
First of another new series, this has Dennis O'Keefe as the
country boy who likes to race cars, and uses the midget-mot r
racing field as locale. Cecilia Parker is the car manufacturer's
Consult This Movie Shopping
Guide and Save Your Time.'
Money and Disposition
* INDICATES PICTURE WAS ONE
OF THE BEST OF THE MONTH
WHEN REVIEWED
daughter I-ove shines, there is conflict with a crooked race trad
doctor, and Life goes on. (March)
+ CAFE SOCIETY-Paramount
A hectic comedy about a wealthy young woman who mnrrie
a ship news reporter to spite a columnist. The players, Madelein*
Carroll. Fred MacMurray. Claude Gillingwater et al, have lots m
v and there are few dull moments. (April)
CHARLIE CHAN IN HONOLULU-20th Century-Fox
The witty Oriental detective's newest adventures deserv.
special mention as there is a new Charlie Chan, Sidney T
does not copy the late Warner Oland, but the result is startlingl}
good. There are some pretty tough passengers on his Honoluli
boat, so you'd belter bring your smelling salts. (March)
CHRISTMAS CAROL, A-M-G-M
Beautifully produced in the sentimental spirit in which it wa:
written by Dickens. Reginald Owen plays .Scrooge, the m
thinks Xinas i< a humbug until three sthost- come to show him hi:
mistake. Terry Kilburn is delightful as Tiny 'Jim. the cripple
and the Lockharts (Gene and Kathleen) are Mr. and Mrs. Cratchit
(March)
CODE OF THE STREETS-Universal
The Little Tough Guys come out in this dreary movie as
thoroughly impossible bunch of younj I vuittemiipe i
! on a murder charge and there's pit nty .. i moral pointed
about crime not paying. {Aprtl)
• COWBOY AND THE LADY. THE-Goldwyn-United Artists
Rich girl, poor boy again, but as gay as your new hat and done
in the usual Sam Goldwyn style — which glitters. Merle Oberon
is a kind of cultured British Carole Lombard, Gary Cooper is in his
element as the shy cowhand who marries her. Patsy Kelly is there
for laughs and it all amounts to a charming interlude in your
workaday life. (Feb.)
• DAWN PATROL, THE-Warners
A stirring drama of war in the air without a female in sight, this
is continuously thrilling, stunningly photographed and logical, if
tragic. Errol Flynn. David N'iven. Basil Rathbone, Donald Crisp
and a host of others build up a gallant picture of friendship and
heroism that will leave you thoughful — and thankful that Warners
remade this picture. (Feb.)
• DRAMATIC SCHOOL-M-G-M
For those who love the theater, this is a handsome and well-
done piece of education. Lui-c Raincr and Paulette Goddard are
the budding Bernhardts; Gale Sondergaard, Alan Marshall Lanfl
Turner, Genevieve Tobin and other troupers lend able support.
Laughter and perhaps a tear — and watch Goddard! (Feb.)
DUKE OF WEST POINT, THE-Small-United Artists
Gosh, do the cadets hate Louis Hayward, fresh out of Cam-
bridge (England) — accent, physique and all. There is the usual
to-do about a widowed mother, the big game, and The Girl (Joan
Fontaine). Richard Carlson does some great work. (Feb.)
EVERYBODY'S BABY-20th Century-Fox
The Jones menage has a new member in this rollicking episode.
A quack doctor proceeds to bring up the baby scientifically and
the net results of this hygiene are that the new grandchild succeeds
in getting the family in a heck of a mess. The cast is the same as
usual and good, too. (Feb.)
FISHERMAN'S WHARF-Principal-RKO-Radio
Less e tan its predecessors, this allows Bobby Breen
Leo Cirnll.i and Henry Arnuita
id with fisfa and a li-hy Italian acont. lit' sing
songs in the usual manner. (April)
• FLIRTING WITH FATE-M-G-M
Here Joe E. Brown is the leader of a troupe of actors who
tangle with Leo CarriUo's South American banditti on a trailer trip
to New York. Leo has his eyes on Steffi Duna. a dancer. Joe's
attempts at suicide (to get insurance) will have you in a gale of
laughter. (Feb.)
FOUR GIRLS IN WHITE-M-G-M
This has a message -.i message to the medic ;rving to
i much dough and start worrying about the
patient. Florence Rice is cute as the hard-boiled nurse out for a
rich husband; Alan Marshal does well as the idealistic surgeon.
Una Merkel, Mary Howard and Ann Rutherford arc the three
other gals. (April)
GIRL DOWNSTAIRS, THE-MG-M
The acting is what counts in this, people, not the story. That's
man (Franchot Tone! who
maid (Frandska Goal) in order to see the rich beauty Franciska
r What a Gaal comes through with flying colors, as cute
a- a kitten. (March)
GOING PLACES-Warners
Dick Powell is cast as the innocuous young hero who
watches the races and falls in love with Anita Louise. Maxine
Sullivan gives out with her jazx chamber music and is a dish, from
any standpoint. Never mind the story, just go to hear her — and
Armstrong's trumpet. (March)
• GREAT MAN VOTES, THE-RKO-Radio
A political satire on the prohibition and "boss" era, this has an
original story, understanding direction and the superb portrayal
ven himself. Playing a widowed
i addicted to the bottle, he rehabilitates himself with the
Weidler and little Peter Holdeil (in "On Bon. .wed
'). You could ask little more of a picture. (March)
• GUNGA DIN-RKO-Radio
Adapted from Kipling's barrack-room ballad glorifying the brave
water carrier, this exciting drama shows the British in India up
i policing the natives. Cary Grant (boy, is he
good), Doug Fairbanks, Jr.. and Victor McLaglen are tin
buckling heroes; Sam Jafte. the courageous Gunga Din. Two hours
packed with spectacular thrills. (April)
(Continued on page 99)
PHOTOPLAY
TIIK POICTIIAIT Ol A I 'II KK SOIL
NOW SEE THIS FACE ON THE SCREEN!
Out of the blazing fires of her genius, the screen's most gifted actress has
created a gallery of unforgettable women. Now Bette Davis, the win-
ner of two Academy Awards, comes to you in the climax of all her
dramatic triumphs. In the role she has waited eight years to play. In
the greatest picture of a woman's love that the world has yet seen. See
"Dark. Victory," a Warner Bros, picture, at your theatre Easter Week!
lor
I VI \J V L J //i item home
a n
"Mv g.irden is my priJc and joy
it, show it off, and usually send our guests
home laden with its flowers. After Anne's
bat weekend visit, along came her thank-
you gift."
ntrodu cti
on
six roses
"Said the card: 'Now it's a city-dweller's
turn to send you a bouquet. Here's some-
thing with the prettiest bloom in town . . .
the loveliest colors, too. You'll like the way
it lasts ! * Inside the box was a nosegay of
Berkshire Stockings."
They were exquisite — sheer as a whisper,
glowing with color, perfectly matched to
my ensembles. Best of all, they really wore!
For Anne's introduction to Berkshire Stock'
ings, six of my very best 'New Dawn
roses. For me, Bcr\-
shires for Ufe I
#r
butinats, with
■ thoti
Look for one of theie seals on each pair of Berkshire
Stockings, identifying them as 2, 3, or 4 -thread.
BERKSHIRE
STOCKINGS
Ask for BERKTWIST, Berkshire's sheerer crepes
Copyright 1939 by BERKSHIRE KNITTING MILLS, Reading, Pcnna.
A new Photoplay department — giving
tips and advice hot from the Holly-
wood lots — for all amateur movie-
camera enthusiasts who want to buy,
make and show their own home movies
BY JACK SHER
WHEN Hollywood's professional
cameramen get stuck on a
knotty problem, they go to
Jackson Young, Chief of Twentieth Cen-
tury-Fox's elaborate Camera Depart-
ment. Young is an expert on "trick" ef-
fects and a boon to the pro cameraman
looking for an unusual way to shoot an
ordinary scene. He is also a 16 mm en-
thusiast and the movies he takes as a
hobby are the talk of filmland. This
month we've asked Jackson Young to
give us some advice in the way of "trick"
shocks. If you follow these sample tips
he's given us, you're sure to get a gasp
and maybe a round of applause from
your rival 16 mm cameramen.
The most spectacular and yet the eas-
iest "trick effect" for the amateur is the
reverse shot, according to Young. Al-
though few 16 mm cameras are designed
for shooting in reverse, the effect can
be attained by holding the camera up-
side down while taking the scene and
then cutting and splicing the developed
sequence so that the strip of film is
turned over on its back and reversed
end for end. With this device, humorous
effects can be given to a picture — divers
can be made to fly out of the water feet
first, smokers inhale vast clouds of
smoke out of the air, and so on. This
effect is also useful in solving many
photographic and directing problems.
For example, if your script calls for a
knife to be thrown into a wall close to
an actor's head, a dangerous situation
can be avoided by driving a knife into
the wall by hand, attaching a thin wire
to it and then jerking the knife out of
camera range while shooting the scene
upside down.
Another useful adaptation of the re-
verse shot is titling. A title can be writ-
tin by placing small pebbles on a sheet.
Then, with the camera shooting upside
down, the sheet can be shaken so that
all the pebbles roll into a central pile.
When reversed, this shot gives the effect
of a pile of pebbles which suddenly be-
gin to roll into place to spell out the
letters of the title.
A more elaborate "trick" is the much
used "process" shot. This is a scene
which is shot against a background
which is itself another moving picture
nrojocted on a screen. To do this, you
synchronize the camera with the projec-
tor of the moving-picture backdrop so
that the shutters of both the camera and
the projector are open at the same time.
This can be done by running a flexible
cable drive from the motor of the pro-
jection machine to the shaft of the cam-
era and making the same motor operate
both instruments. This is the most
widely used single trick of the Holly-
wood cameraman and has long been
kept a secret from the amateur. With
this "trick" you can produce hundreds
of effects which are impossible to obtain
with "straight" shooting.
UARRISON Films seem to be stepping
forth with the best pictures this month
for home showing. They've just released
a film for 16 mm projection called "Car-
nival In Flanders." This picture won
many awards as the best foreign film of
the past year and it is worth seeing for
the magnificent sets and the exquisite
photography alone. Another thrilling
Garrison release is "Fight To The Last,"
the latest film to come out of China.
This picture was made in China by Chi-
nese cameramen and directors. It shows
actual troops in battle and takes great
shots of the valiant struggle of the
Chinese in the effort to drive the Japs
from their land. Still another war film
now available on 16 mm is the new
Spanish documentary film, "Will Of The
People," a splendid exciting film which
supports the side of the Loyalists.
In a lighter vein. Castle Films have
just released their latest one-reelers on
the San Francisco and New York
World's Fairs. Many shots of the Fair
grounds have been taken from the air
and they are breath-taking. It also gives
you a good idea of what to pick to see if
you are planning to take in either of
these spectacles.
Now that winter is behind us, you
can also enjoy Castle's newly edited film,
"Snow Thrills."
Pathegram is specializing in one-reel
comedies this month, Charlie Chaplin,
Hal Roach, Charlie Chase and Snub
Pollard. They are at very reduced rates,
and swell for the kids. In Black and
White and Colortone.
New EQUIPMENT: A boon for Bell
and Howell projector owners is a new
attachment which makes it possible to
run an 800 foot length of sound or silent
film without stopping ... a new tripod
top which permits two way panning is
now obtainable from the Minosa Amer-
ican Corp. of New York . . . Universal
Camera Corp. announces an automatic
titling machine which sets three line
titles by merely turning a few wheels
. . . Bell and Howell has issued a sixty-
four page list of over 2800 16 mm sound-
on-film reels now available for the heme
movie fan . . . finis.
PHOTOPLAY
How Well Do You Know Your Hollywood?
Isa Miranda in Paramount's
melodrama, "Hotel Imperial"
GRADE yourself :
every one you guess rig'--.
you get forty-five or less, you
don't keep up with Hollywood. If your
"s sixty, you're doing quite well;
and - you have a score of severr
you know as much as PHOTOPLAY.
Check up en page 73.
1. During the la;- ear this actor had
the distine- " 9 in more
expensive and elaborate product
lar -.- ather:
Nelson Eddy Robert Taylor
Tyrone Power Errol Flynn
2. This comedienne
re which has her r
Y.zr.ha Rape
Patsy Kelly
Grade Allen
.'::.-. Davis
3. He's the late
i -z- — an build-up and, in r
-3 will ence e
zz'zzy Rreen
]ames Stewart
Leslie Howard
Roland Young
4. This actor's craze For f
him 5000 hours ' ' I
a eutenant-cc — andei
srve:
Sidney Blackmer
Wallace Beery
Henry Fonda
Walter Biennan
5. Her studio - a
no lone
- zrye
E?:'.e Doris
Shirley Ross
Marlene Dietrich
6. The famous F
■
- if them a year:
Sybil Jason
Edith Fellows
Shirley Temple
Virginia Weidler
7. This star's v. -
:o fortune:
Paul Muni
Wayne Morris
'zz's. Zzk.s
John Wayne
8. He won an A :
third time this year:
Charles Boyer
Frank Copra
Spencer Tracy
Robert Doncd
9. One c-
p -: iv :e-:
Generiere Tobin Maureen O'Sullivan
Myrna Lay Louise Campbell
10. C Ur in
their annual vo"?
: o rnpari : - :
' - -. ! : - Isa Miranda
Madeleine Carroll Hedy Lamarr
11. She He ,-wocd's c- . :- = -
:-:
Dorofhy Arzner Edith Head
Gwen Wakeling Jeannie MacPherson
12. He made his I rst -----
»tor:
Fzedric March Clark Gable
James Cagney Basil Rathbone
13.
uled for 1939 release is ne'
tes cf c'd -
Penthouse Dodge City
Bill of Divorcement Within the Law
14. I^'s -
chunky ac
sy:
Edward Arnold Andy Devine
Eugene Pallette Olirer Hardy
15.
- for ma me
ArJine Judge June Knight
Eleanore Whitney June Collyer
Avoid undie odor
the easy Lux way
Undies absorb perspiration
odor, and others notice this
before you do yourself.
Don't take chances with
daintiness — Lux undies after
every wearing.
Lux keeps undies new
looking longer, has no
harmful alkali to fade deli-
cate colors. So don't rub
with cake soap or use
soaps with harmful alkali,
n water, safe in Lux!
Buy the BIG box.
A little goes so far—
MAY, 1939
■^_^^^^ There sat Jones
— my husband's rich-
est customer — bored stiff.
"Have some Beeman's?" said I,
after the coffee — and the miracle
happened! "My favorite flavor! "said
Jones, suddenly very cheerful.
"No meal's complete without Bee-
man's!" he declared. "That refresh-
ing tang adds the touch of perfection!
It's tonic to your taste! Delicious
is the word! Thanks a million, dear
hostess — for a perfect dinner — and
a perfect after-dinner treat!"
^/P? P/G£Sr/0M
\
PK^QPtAYS
^
fru
PROP.
Jeanette MacDonald's beauty is more
than just a pretty face. It has that cer-
tain something every woman may share.
And here she tells the secret of her
beauty — the secret of true loveliness
QUEEN OF THE MOVIES — Were
you one of the voters who chose
Jeanette MacDonald as Queen of
the Movies for 1938? If so, I am sure
that you voted for her not only because
of her great talent and beauty, but also
because of the warmth and charm of her
personality that make you like her as
a person as well as an artist. You rec-
ognized the fact that perfect features are
not enough. It's the spirit and anima-
tion and graciousness behind one's fea-
tures that lend beauty to a face!
It's spring again and the beginning of
a new season makes us dissatisfied with
ourselves — with our clothes and the way
we look. We want to dash right out
and buy a new dress and hat and try the
new colors in cosmetics and give our
morale that lift that comes only with a
new shade of powder and lipstick and
a brand-new eye shadow. But it's im-
portant to remember that cosmetics
alone don't make beauty — although
they're a great help. Beauty is a re-
flection of what you are inside Care
of the skin and eyes and teeth are vital,
of course; but, to give vividness and
charm to a lovely face, you must have
more.
Jeanette, whose pleasure at receiving
that award gives her a new glow, says,
"There is no secret to beauty — no secret
in beauty that cannot be shared by
every woman. Beauty is grace, poise,
the keen mind, the vitality, the bright
eyes and glowing skin which result from
nroper rest .and relaxation and exercise
— and the correct mental attitude, too—
as much as it is the careful application
of cosmetics and fastidious grooming of
hair."
Jeanette has a quality of giving of her-
self to people, of kindliness and interest
m others. Her face is animated. She
radiates character and charm. She's
open and friendly. That's the real se-
cret of her beauty — the real secret of
anyone's beauty, for that matter.
You must all know girls with sculp-
tured faces, with lovely features who
yet leave you cold, so that you look at
them and wonder, "Why isn't she beau-
tiful? Her face is perfect, yet she lacks
beauty." It's that she lacks the spirit
that gives beauty. And there are other
girls with small eyes or a crooked nose
who are enormously popular and of
whom you say with a sudden shock of
surprise, "She isn't really beautiful at
all. Her face is all wrong." But it isn't
important because the vividness of her
face and the warm spirit shining
through lend her more beauty than the
former girl has.
True loveliness is the reflection of the
spirit within. Sincerely like other peo-
ple and they will like you. Forget
about yourself and become interested in
others and they will be interested in
you. Do not let your face be a mask
because of lack of interest; an animated
face is more charming than one always
in repose.
"No one likes a 'lazy' face, that type
of unresponsive face that never reflects
the mood behind it," says Jeanette ear-
nestly. "It's a fact that it takes twice
as many facial muscles to look unpleas-
ant as it does to effect a pleasing happy
expression. Making faces at yourself in
the mirror is a good way to bring into
play all or most of the facial muscles."
Which, incidentally,, is an easy rule to
follow!
I asked Jeanette how she managed to
keep herself so radiant and vivid in
spite of the terrific amount of work she
does. Her answer was — relaxation.
"Late social hours on top of a long
working day will make any woman look
to her physical and beauty laurels. A
career woman must have regularity and
system in her work. She must recog-
nize its demands and meet them with a
healthful and sane logic and with the
proper energy.
"Relaxation. I've found, is the best
way of restoring your energy. I don't
mean the kind of relaxation that makes
further demands on your vitality. Play-
ing the pipe organ, or the piano, pro-
vides ideal relaxation for me because I
enjoy it; it takes my mind away from
the day's tension; and I can indulge it
without expending any more energy."
A second rule to look into, my pret-
ties!
"Hands, too, are so important to
beauty," went on Jeanette. "And the
possession of lovely hands is more de-
pendent on their grace than on their
shapeliness.
"We all know girls whose hands are
not perfect, but they are so vitally ex-
pressive that they are lovely to watch."
Every woman can learn to use her
hands cleverly, for emphasis on speech
or dramatic stress, so that they become
an interesting and characteristic feature
of her personality instead of an awk-
ward detriment.
"Hand exercises before your mirror
are excellent to develop grace. Moving
the hands in Hawaiian hula fashion is
the best exercise I know. And I think
it's so important to learn to hold a tea
cup or a cigarette with grace. Never
permit your hands to fall listlessly at
your side or awkwardly on a table be-
cause that detracts from your whole ap-
pearance."
A third rule for greater loveliness that
we copycats can follow.
A PROPER exercise regime is as neces-
sary a part of your health and beauty
program as proper sleeping and eating
and Jeanette has worked out her own
solution to this problem.
"Since I've worked most of my life
under trying schedules which couldn't
provide regular time for exercise, I have
decided upon walking as the best exer-
cise for me — and I might say with due
modesty," she laughed, "that I am an
unparalleled walker.
"An hour after dinner each evening
is set aside for my jaunt. I walk
briskly, covering a two-mile course. I
believe there is no exercise more valu-
able for bringing every muscle of the
body into play. And by paying particu-
lar attention to breathing — inhaling
through the nose and exhaling from the
mouth — this ritual can become even
more beneficial."
Jeanette's idea of a walk is not a slow
stroll, remember, but a good brisk jaunt.
10
PHOTOPLAY
That quality that gives zip to Jeanette's
"High Flying" number in M-G-M's "Broad-
way Serenade" is yours, too, for the trying
With the vogue for strapless evening
gowns and now strapless bathing suits,
too. it's important to keep your neck
and arms and shoulders lovely and firm.
Jeanette comes forth with some excel-
lent suggestions for neck beauty.
"First." she says, "diet must be regu-
lated. Pastries and sweets are out; po-
tatoes and bread should be limited to
one meal a day. After bathing, wrap
a towel dipped in very cold water about
your neck.
"Then, with finger tips dipped in cold
cream, pat from the chin down to the
base of the neck firmly and rapidly,
using the back of your hand.
"Do this exercise twice a week: stand
upright, roll your head slowly around
in a wide circle, first in one direction,
then in the other. Make a complete
circle, dropping the head as far back
and as far forward as possible. Do this
gently, being sure not to raise the shoul-
ders or stiffen them.
'"The entire body should be relaxed
during the procedure.
"Try the patting and creaming at
night and the exercise in the morning.
Make it a habit to carry your head well
at all times and when you're seated
don't let your chin relax into a comfort-
able roll of excess flesh in your neck.
Hold it high.
"Give your neck and chin line a
smooth, sculptured appearance.
"I'll never forget the words of instruc-
tion spoken by a famous artist in New
York to a group of girls who had been
selected as mannequins for a stage play.
'Pull your hips out of your shoes. Pull
your shoulders out of your hips. Pull
your heads out of your shoulders. And
look as beautiful as you are.' "
And, while you're remembering that
artist's wise summary of beauty, re-
member, too, that beauty comes not only
from figure and proud carriage, but also
from the spirit within.
So let that spirit of friendliness and
graciousness shine through to illuminate
your new spring clothes and you'll have
true beauty.
MAY, 1939
II
AMERICA'S MOST THRILLING STORY!
The man who dreamed of spanning continents with the human
voice . . . and the girl who believed in his genius! Out of the
greatness of their love came an American miracle of achievement!
HUMAN NEED
Twentieth Century- Fox Presents
DARRYL F. ZANUCK'S Production of
- THE STORY OF
Alexander,
graham bell
DON
LORETTA
HENRY
AMECHE • YOUNG • FONDA
Charles Coburn • Gene Lockhart • Spring Byington
Sally Blane • Polly Ann Young • Georgiana, Young
A Cosmopolitan Production
Directed by Irving Cummings. Associate Producer Kenneth Macgowan.
Screen Play by Lamar Trotti. Original story by Rav Harris.
HOPE
A *
mi ^m - **
"Wouldn't it be funny if, out of
Mabel's deafness, we invented
the telephone and made the
whole world hear!"
12
PHOTOPLAY
CLOSE UPS
LONG
SHOTS
BV RUTH WATERBURY
Y
rOU see everyone in Hollywood as bigger
than life-size," said my friend, who is
much smarter than I am . . . we were
talking together in New York. . . .
"Well, maybe they are," I said . . . and rather
weakly, I must admit. . . .
"Oh, nonsense," said my friend . . . "you
know they are just ordinary people who happen
to be a little handsomer than average." . . .
So I went away from there ... as soon as
my friend had paid the bill . . . feeling pretty
crushed and I was very glad when George
Brent, who had just arrived in New York, too,
called up and suggested cocktails at five o'clock
the next afternoon . . . George was in New
York, just as I was, trying to get away from
Hollywood for a little while ... I don't know
whether he was being as elegant in his mind
about it all as I was ... I had been taking a
straight dose of those marvelous New York
papers for a week, getting myself loaded up on
the Spanish War, the Chinese War, the labor
war, what Hitler is about to do, what Mexico
Teh, tch — a cocktail date that ends at
sunup! Ruth Waterbury and George Brent
(left, at El Morocco) do the town and GB
proves "handsome isthat handsome does"
is about to do, about unemployment . . . about
misery and worry, in other words . . . and my,
did I feel intelligent . . . and boy, oh, boy was
I in a state to welcome a little lowdown on
Olivia de Havilland and Errol Flynn and
whether or not Twentieth Century-Fox was go-
ing to sign Marion Davies along with the rest of
the Cosmopolitan picture contract and what the
budget was on that last Byrnie Foy "B" ....
We set the place for the Ritz Tower, where
George was staying, and I planned to get my
hair done and a manicure and all that feminine
lure stuff, but it poured rain all afternoon and
I got stuck with a mess of work so that I couldn't
leave my desk for so much as a half hour . . .
I planned to have just one drink and then get
home and go straight to bed for some real sleep
... I made the Ritz Tower smack on the nose
of five o'clock only to find Mr. Brent wasn't
in. . . .
"Hollywood." I muttered between my angry
teeth . . . me seeing its stars as more than life-
size indeed! . . . life-size nothing . . . Holly-
wood people were pigmies . . . worms . . .
they had no sense of time or place ... I turned
away, burning. . . .
A young man from Warners came hurrying
in . . . ""There's a number George Brent wants
us to call," he explained . . . "That's where we
are to join him" ....
So we called the number and it turned out
to be a saloon on Third Avenue. . . .
NOW. in case you don't know your New York,
I'll tell you that Third Avenue is one of those
incredibly dreary streets over which an '"el"
runs, making the street always dirty and full of
shadows, always noisy and terribly
poor . . . and well, I know that there
are more stylish words for drinking
places than the word saloon . . . you
can be tony as all get-out and call
them "bistros" thereby pretending you
have trailed about Paris all your life
and just can't think of those funny
American names for things any more
... or you can be very Broadwayish
and call them "'sin parlors" or just reg-
ular and call them bars . . . but this
place can be called nothing but saloon,
for it was one of those spots with
greasy oil cloth on the floor and a big.
bare bar running the length of it and
bartenders more Irish than County
Cork standing in back of it ... a
more unlikely spot in which to find a
movie star cannot be imagined . . .
but inside were George and his pretty
sister, Peggy, the Ralph Bellamys and
a couple of lads from the local Warner
office. . . .
It was George who had discovered
the place and the reason for that was
his learning that the saloon was run
by an ex-pal of his ... a chap who,
like George, had been a dispatch run-
ner for the Irish Republicans in those
stcrmy and bloody days when Ireland
was fighting most bitterly for her free-
dom from England . . . George and
that saloonkeeper had risked their
lives almost daily in that cause . . .
or, to be more exact, almost nightly.
(You remember the background of
"The Informer," don't you? That was
the kind of thing George and his friend
lived through.) . . . and after you
have gone through such drama with
a man you do not forget him . . .
George had hunted Tim up ... it
turned out to be the right Tim and
Tim turned out to hajre the smoothest
Irish whiskey you have ever tasted
and the brogues flying around the
place when we entered were so thick
you could have cut them into a statue
of Eamon de Valera if you'd had a knife and
skill enough. . . .
WELL. I had that one drink I was going to
have . . . and then I had another . . . and pres-
ently we were all in a restaurant uptown hav-
ing food . . . and it was there that the test
began. . . .
We were all sitting there, not even talking,
we were all so busy with eating, when a big
burly guy came along and recognized Mr. Brent
and began shouting forth what he thought of
Hollywood . . . what he thought mostly was
that he didn't like it ... he said what he
thought of Gable and Lombard . . . just like
that, Gable and Lombard. . . .
"Mr. Gable and Miss Lombard, please," said
Mr. Brent, his voice steely, and he rose swiftly
out of his chair with his very broad shoulders
silhouetted against the light . . . the loudmouth
saw them too and he suddenly had to go away
somewhere else but the scene he had tried to
create brought even.' eye in the place on us . . .
"Let's get out of here," George said and we paid
the check and tried to escape into a taxicab
. . . but one thing a movie star can't do and
that is move about easily . . . for at the door
there was that inevitable cluster of little kids
with their autograph books, their leaky pens and
their pencils that so often don't have points. . . .
>ne can understand better than I. who
have felt the charm of glamorous people all my
life, how those little kids naturally do tag celeb-
rities about ... I don't blame them in the
least . . . but I can not blame stars either at
inwardly groaning when they must stand in
(Continued on page 81)
MAY, 1939
13
"IMAGINE ME...IN LOVE WITH A TAXI DRIVER..."
her*elf "lS y°^ little fc.
y°U h°* ll 30he; «e0e!hlend *V° «ot
beaded aii aainS f0r un d ever,
Par er took. *. bl^est hep X
aree again i * Whe» * fait /eade^ a
a badly r . had one n, * 0eHe
y rai^ed 0ut *>a*n ticJfet Ie
°ut ^enin* , *et and
°Ur- *» old " W«» .o0i ett t60h«que
*•• baofc ;;- - «. pay;oi° put your
get *• «*- .i,1* oake * i S and
PHOTOPLAY
iV? ^oU-
oM c „ fread-
^i0e Yvo^ey- S° u tfie ^a*
*ai& *■*' r, «*■** ve *° S°
dri^s l a^lS - love--
a £a^ f * ideas-
^ -de ali ^e ol nard H**#
ro^ce-' r n0*. ^ ^a,y asp**1*
i-t °r -Rroad^ay . +tle
c^dS _ Biysee . imaS^6
**e CYvaiaP3 Toad-
*** , I 6°* * , driv^ '
Paramount Presents
Claudette Colbert
Don Ameche
MIDNIGHT
with
John Bamjmore • Francis Lederer
Mary Astor • Elaine Barrie
Screen Play by Charles Brackett and Billy
Wilder • Based on a story by Edwin Justus
Mayer and Franz Schulz
DIRECTED BY MITCHELL LEISEN
Y. 1939
15
DEBUT Ol1 RANCH BRED
'ilk tke federal nam
stamped on the leather side
identifying the finest, dark
natural ranch -bred skin
It PAYS to know the quality of your mink
FEDERAL MINK keeps its appearance
stands remodeling, gives long service. It i
incredibly warm, yet magnificently ligh
in weight. In spite of the luxuriously deni
lustrous fur, it is as supple as a soft fabric
Long, silky guard hairs add to its elegance
FEDERAL MINK skins are extremely, nm
urullv dark, without the slightest trace c
\ ellow or red . . . lovely, subtle . . . the toil
in a pleasing contrast, not only flattcrin
to all types of women, but with an affinit}
too, for all costume colors. Only mink sc
entifically bred over a period of many \ eJ
obtains this blue-blood loveliness. Make
memorandum to ask for FEDERAL M I Ms
This name on the back of the skins insurt
utmost in mink beauty. . . maximum of lonj
lashionable wear. Smart stores ever) \\ lien
now feature Federal Ranch-Bred Mini
FEDERALRcuvckftJ
nvlrtk
HAMBURG, WI!
16
PHOTO PLA
you believe that you are handi-
oped by circumstances? Here/s a
re that will set you thinking,
n you take it, Young America?
t LELA ROGERS
/Ginger's mofher]
ILLUSTRATION BY
CHARLES D. MITCHELL
)0 you want to be somebody?
It would be surprising indeed if you did not, for all down
the ages every girl and boy has found the urge within them-
res to struggle upward, to make something of themselves and im-
ve their lot in life. Where they live or how they live makes little
erence. Normal human beings are interested in their own ad-
icement. And they should be.
"here are things happening in the world today that would make
believe advancement is a thing of the past, that there is some sort
liabolical scheme of retrogression afoot. But there isn't. Progress
me of the first laws of the universe . . . inherent in man. It is the
t law of Heaven. So what is there to hinder it?
f I ask you what it is you particularly want, you might answer,
ft'ant a million dollars," yet some of the dullest, most uninteresting
and least progressive young people I know have a million dollars.
Money doesn't make you somebody. It doesn't even help.
If you tell me you want to be "tops" in your profession, or that you
are in the very disquieting throes of selecting a life work ... a place
to begin . . . that you are anxious to have something to offer when
the time comes to launch yourself into the world of grownups, then
I shall know that imagination, common sense and courage will vital-
ize your study of your problem and that I can help you.
So. let us take it for granted right from the start that you are so
serious about this business of being somebody that you are willing to
give both time and thought to it. It will take both, especially thought.
The decision to be somebody comes from within — from thought and,
since this somebody-we-would-be is an idea held in thought, a
(Continued on page 82)
17
DO HOLLYWOOD WOMEr
When is spoiling not spoiling? When is surrender wise?
This famous novelist gives you a Hollywood lesson in love
BY FAITH BALDWIN
WHEN the editor of Photoplay .
me whether or not I would be Inter-
In writing an article under this
headii amed, I hollered, I bit the ceiling.
And I grabbed my trusty typewriter and wrote
a letter to Photoplay in which I demanded to
know what In the world was meant by "spoil-
ing"? You see, spoiling i; a pretty general term
and what might mean spoiling to you might not
mean spoiling to me.
I suppose it's spoiling when you encourage
selfishness and certainly selfishness is encour-
aged by too much pampering, too much shelter-
ing from realities . . . that goes for men, women
and children: for, to be ideal, any human rela-
tionship should approximate a fifty-fifty, give-
and-take basis.
Many wives are afraid they will spoil their
men if they yield to them on various points.
But sometimes surrender is wise. And some
men spoil a lot easier than others. The rule
here seems to be, how much can you spoil your
man and not spoil your marriage?
HOLLYWOOD is full of the world's most allur-
ing women; it is an enormous factory, working
day and night, to create allure. It has to . . .
because every week eighty million people pay
money at the box offices to view that allure and
to enjoy it vicariously.
To be born beautiful is very nice indeed. To
be born attractive and made beautiful is some-
thing else again. Charm, beauty, allure — these
will all interest and attract a man, but they can't
hold him. Girls who look in the mirror and
pray that they may become beautiful overnight
should realize that. I've seen very plain women
hold men much longer than beautiful wom-
en, and in greater happiness. Not even in
legendary Hollywood do beautiful women al-
ways hold their men. Look at the divorce rec-
ords. Nor, for that matter, do handsome men
hold their women.
In looking over the recent examples of how
Hollywood women may "spoil" their men, I
come upon several which seem to me just com-
mon sense, not spoiling. For instance, I read
somewhere that Joan Blondell threw away a
new hat because her husband, Dick Powell, said
he didn't like it. Spoiling? I don't think so.
After all, he had to look at the hat. If Mama
comes home in a lovely crazy creation which has
cost her a pretty penny and Papa takes one look
at it and either weeps or laughs or groans . . .
well, out goes the hat. And a very sensible
gesture, too. Nothing seems to irritate a man
more than a hat which affronts him — on his wife.
It irritates the wife, of course, when said hus-
band doesn't mind the same hat on another
woman. But she isn't his wife, so that's that.
My mother used to romp in with the latest
thing in hats and my father used to order them
off her red head, pronto. He would say, "You
look like a drum major." He would say, "You
look like Bertha, the Brewer's Bride." He
would say, "You look like the waste basket, plus
contents."
His contention was that a hat should frame a
face; that the face should be the main object
of the eyes and not the hat; that a hat should
be merely a becoming adjunct. If he were alive
yi* '
The Carole
(left) is a fi
Lombard of today
is a tar cry from the one
on the right, who lived for
night clubs and crazy enter-
taining. Clark Gable caused
this transformation — but was
she spoiling him? We ask you!
today he would probably go into a straight
jacket after viewing the hats which now appear
jpon the public streets.
Young girls and very pretty girls, smart
ivomen who are so plain that nothing is be-
aming but sheer crazy chic, can get away with
the mad, mad hats. Since Mrs. Powell is both
young and pretty, she can get away with them,
too — except at home. But if Mr. Powell doesn't
like one of her hats, she isn't spoiling him by
throwing it away. She's being sensible.
So, if your boy friend doesn't like your hat,
3o something about it. The gesture will flatter
tiim; it won't spoil him and, incidentally, it may
improve your own appearance.
Adrian, famous Hollywood costume designer
and fiance of Janet Gaynor, has designed an en-
tire new wardrobe and dress personality for her,
Dr so I hear tell. I don't think she is spoiling
tiim by conforming. I think she is being wise.
In the first place, Janet Gaynor is lovely enough
to have a new personality if she wants one.
To dye or not to dye — Miss
Goddard went blonde, Mr,
Chaplin went critical. Today
she's a brunette. Was she wise?
Anyway, she's probably tired of being wistful
and little-girlish. Hurrah for her, and for
Adrian, and for their romance!
Suppose you're a brunette and you decide to
become a blonde. Suppose you become a blonde
and all your best friends (including the cats) tell
you you are too, too ravishing. Suppose your
husband or your fiance takes one look and ad-
vises you that he fell in love with a brunette,
that you looked much better to him as nature
had intended. What would you do? Go on
being a blonde because you didn't want to spoil
him by surrender?
Paulette Goddard had that happen to her. She
went blonde and Mr. Charles Chaplin went
critical. She returned to her natural coloring.
And I agree with Chaplin.
I like her better that way.
HELL, perhaps hats and hair-dos and make-up
and blonde vs. brunette aren't very important
problems, but here's a more serious one.
Who pampers whom? The wistful, girly-girly Janet Gay-
nor is no more — in her place is a chic, well-dressed
woman. Was she right in conforming to Adrian's fancy?
Take that most discussed little blonde num-
ber. Carole Lombard. Carole free-lances: she
draws approximately one hundred thousand
dollars per picture, plus profit percentage. Last
year her income totalled nearly half a million
and, in addition, Hollywood's most box-office
screen lover is also number one man in her life.
Marriage is around the corner and these two
have been keeping company, as we say up here
in New England, for some time.
How does she hold Mr. Gable's affection? By
her beauty? Nonsense! There are women
lovelier or as lovely right under his eyes. By
her acting ability? When did that ever hold a
man — off stage? By her earning capacity?
Thumbs down on that — his own is stupendous.
Back in 1934, this little blonde star was cele-
brating a recent success at a party. She loved
parties — the bigger, the better and the more fun.
And there she met the gentleman aforesaid —
not for the first time. They had co-starred in a
picture, but that was business. This was social,
and pleasure.
He just happened to be there. He doesn't go
much for parties. He likes other things better.
But there she was, independent, witty, most
(Continued on page 80)
19
BY CLAUDE BINYON
From the agile pen of this author,
famous Hollywood dialogue writer,
has come such hits as I Met Him
in Paris' and Sing, You Sinners
kkJ
An established star now — Fred MacMurray of '.'Cafe Society"
Sketched by a master, a warmly human portrait
of Fred MacMurray, the guy who couldn't shoot
wild doves because his doctor was a vegetarian
HE was standing by himself, out of the
glare of the lights, and he was afraid for
all he had dreamed of. The cameraman
had shouted that his beard showed black and
the assistant director had asked him why in hell
he hadn't shaved; but he had shaved and there
was nothing more he could do.
The director had talked to him that morning
about his hands. They were large, like young
hams, and he had a habit of holding them be-
fore him, with the thumbs projecting upward.
It looked lousy and he must break himself of
the habit.
The sound man had said he talked too fast,
but when he thought of his speech and tried to
control it, his memory played tricks with the
lines.
The writer had sat watching him rehearse,
the writer who had written the part for Gable
and then found out Gable wasn't available, and
there had seemed to be a resentful hostility in
his eyes.
And so he was standing on the set by himself,
out of the glare of the lights, and his hands were
wet and there was a weakness inside him. He
watched Claudette Colbert working before the
camera. She was beautiful to see, calm and
cool, wise to all the tricks. He had been yanked
from obscurity to be her leading man and she
had been kind to him, but hadn't he seen some-
thing in her eyes? Hadn't he seen it in every-
one's eyes?
A man approached him casually and stopped
beside him. One of those fellows related to
somebody. He didn't seem to do anything but
he was on the set every day and so it was best
to smile at him. The man smiled back and shook
his head slowly.
"Too bad, Fred," he said.
MacMurray swallowed. "Too bad about
what?"
The man put his arm on Fred's shoulder.
"They're going to replace you."
Fred stood straight and still. This was it.
This was what he had seen in their eyes. He
was no good and they didn't want him. The
man patted his shoulder and walked away
slowly. Fred didn't move.
He remained in the shadows the rest of the
day and nobody called him for scenes. When
the company was dismissed he went home and
talked to his mother of everything but the pic-
ture.
In the privacy of his bedroom he waited for
the tears and they didn't come. Only the weak-
ness inside him and the blank realization that
for him everything had ended.
In the morning he stood on the set and waited
for the word. There were several minutes of
agony and then the assistant director gestured
toward him. "Ready for rehearsal," he called.
Fred stared. Ready for rehearsal? Why re-
hearse when you're through? Dazedly he
joined Claudette and the director.
"How you feeling?" asked the director.
"'Fine," said Fred thickly.
"Good," said the director. "This is your
toughest scene in the picture and if you lick it
you're in the bag."
Fred nodded numbly. He rehearsed with
Claudette, not hearing his own voice. He was
telling Claudette good-by. Because she didn't
need him any more and she loved another man.
And then from nowhere the cameraman called
that he was ready and people moved about
busily and there he was standing with Claudette
under the lights.
"Let's go," said the director.
"Roll 'em!" called the assistant. The sound
man recorded the scene number. "Speed!"
called the cameraman.
Fred faced Claudette, clenching his hands and
biting his lower lip. Jerkily he spoke the lines,
his voice rising and fading, but doggedly he
went on. Don't quit in the middle of a scene!
No matter how lousy you are, don't quit in the
middle!
He finished and turned away, resting his
hands on a table because all strength was gone
from him. There was a moment of painful
silence.
"Print it," said the director.
Fred turned, staring. "Please," he said. "I
was terrible!"
"You were just the way I want you to be."
said the director.
"But my voice. It was shaking and nervous.
I was all mixed up."
"How else should you be?" asked the director.
"You love the girl and you're telling her good-
by because you think she doesn't want you."
Fred sank weakly into a chair. After a while
he looked up. The man who had told him he
was through was watching him. The man turned
away after a moment, whistling casually.
I HIS is the story Fred has told me, rounded
out with what I know and it is as cockeyed an
interlude as any man can have in his life.
Sensitive beyond the average man, Fred
imagined many things, but there is the fact that
the man who had nothing to do with anything
told him he was through and Fred believed him.
As late as two months ago, Fred stiil believed
that there had been a definite though momen-
tary decision to replace him in that first big
part of his in "The Gilded Lily." I know dif-
ferently, because I was the writer who watched
him rehearse the part I had written for Gable,
and the look he interpreted as resentful and
hostile was a hammy attempt to convey encour-
agement without words. The director was
ley Ruggles and when he has picked an actor
that actor remains picked. The man who told
Fred he was through has not been inside the
studio since — although what he said to Fred will
be news to Ruggles.
There are four years between then and now
and they have given me much time to know the
guy who stood in the shadows. He has married
a girl named Lillian, whose German maiden
(Continued on page 91)
~*4
+Y»
*
m
r f
t> IFTt
r'V
Fred wasn't the type to forget
"the girl back home" — he mar-
ried herwhenfametouched him
Story conference: Producer Henry Blanke confers
with scripters Huston, McKenzie and Reinhardt
Director William DIeterle (center) consults
with his location manager and art director
TO watch any movie being made is interest-
ing— to watch an unusual movie being made
ia exciting. "Juarez" is an unusual movie
from every angle. It has an important story; it
:i authentic picture of a little touched
period of history; it has a cast which boasts five
Academy Award winners; it has been prepared
with painstaking care.
Ordinarily, advance preparation for a movie
it three months. This means all the
plannin before the picture Roes before the cam-
devcl ping of the script, story conferences,
ning of the sets and costumes,
. planning the shooting schedule. It took
I and a half to write "Juarez." It was writ-
ten with the care of a novel. A year's work went
into research to make every det.iil authentic.
Then followed six months of conferences before
a sin;
Out at the Warner Brothers' Burbank studio
where "Juarez" is being made, I've been fortu-
nate in being able to witness every step in this
production. I've talked to scores
of interesting people and, in so doing, have dis-
ed how a picture is niarle But let me take
you there so that you can see for yourself.
I HE historical background of "Juarez" goes
back to the year 1863. Benito Pablo Juarez, a
full-blooded Zapotec Indian, is President of
Mexico. Doing everything he can to free the
Mexican people from six hundred years of mili-
tary dictatorship, he has declared a moratorium
on all debts to foreign powers. In France, Na-
poleon the Third, egged on by his scheming wife,
the Empress Eugenie, has decided to put a pup-
pet emperor on the throne of Mexico to secure
a new source of gold for France. They chQose
Maximilian von Hapsburg, a liberal and an
idealist, brother of Franz Joseph of Austria.
Maximilian has been living blissfully with his
iful consort, Carlotta, at the Palace of
Miramar in Trieste. To convince him that the
Mexican people really want him to rule over
them, Napoleon's Mexican generals hold a fake
plebiscite; thus Carlotta and Maximilian go to
Mexico, innocent of Napoleon's plot.
Word comes to Napoleon that the North is
about to win the Civil War in the United States.
The French troops must be withdrawn immedi-
ately or the United State's will enforce the Mon-
roe Doctrine. Napoleon withdraws his troops,
leaving Maximilian without support in an alier?
land. Maximilian's aides force him to sign the
Black Decree, making the bearing of arms by
the Mexicans punishable by death. Carlotta
makes a futile trip to Paris to get aid from Na-
poleon. Oppressed by her failure, she loses her
mind. Maximilian and his aides are captured
h
Editor's note — This article is for those
readers who have been demanding a chance
to trace a film from the time a story is
bought right up to the day their theater
shows it. Here it is, the story oj "Juarez"
— chosen by Photoplay because of its his-
torical significance; because it will have
taken two years to complete at a cost of
SI, 500.000; because if boasts five Academy
Award winners among its cast and crew.
by Juarez and executed. So much for the story
behind "Juarez."
Hal Wallis is Jack Warner's executive asso-
ciate in charge of production. It is he who lays
out the programs for the entire year. He is re-
sponsible for the fifty-two pictures the studio
makes each year.
To get to his office one passes through in-
numerable doors that open only when a but-
ton is pressed by remote control. You pass
through long corridors and up winding stairs to
be ushered, at last, into his inner office.
Hal Wallis is totally unlike one's idea of a
movie producer. He is tall and athletic-look-
ing; he is charming and very unassuming; he
talks little about himself; he gives you a feeling
of leisure.
"When you take hold of any story," he told
me, "you naturally see it for certain people —
the result is, the important casting is really done
before the script is finished. At once we saw
Paul Muni as Juarez, the Mexican Lincoln, and
Bette Davis as the lovely Carlotta. We tested
several people for Maximilian and chose Brian
Aherne, who could be his twin brother. Then
there were forty or fifty good speaking parts to
fill. We made hundreds of tests and from them,
I think, were gleaned some of the best character
actors in Hollywood — John Garfield as Diaz,
leader of the Mexican army, Claude Rains as
Napoleon the Third, Gale Sondergaard as the
(Continued on page 93)
22
]/
To Mexico went Paul Muni for authentic lore.
Here he inspects a bust of the famous Juarez
Wardrobe test: Producer Blanlte
and Cameraman Ernest Haller look
on while one of the fourteen cos-
tumes worn by Bette Davis in the
role of Empress Carlotta is tested.
Designer Orry-Kelly's original
sketch is shown on the left
0/?/0;:ve.
23
BY ADELA ROGERS ST.
THERE is a tale accepted in Hollywood's in-
ner circles concerning a major story con-
''■nce where the problem was to find a
title for the celluloid masterpiece just com-
pleted.
After a couple of hours of debate the pro-
had an inspiration. "Hey, look, are there
any bugles in this picture?" he said.
sir," said the author, looking pained.
"Certainly not. No bugles of any kind."
"Then." said the producer triumphantly, "we'll
call it "Without Bugle
ed upon this bit of Hollywood folklore I
propose to call this portrait of Irene Dunne
"Without Glamour." Because (her" is no glam-
our in it and that makes it one of the most re-
markable success sagas ever told.
Somewhere back in the early '30s, Irene
Dunne was working for RKO. So, as it hap-
•■ u I We had at thai time two women
stars on the lot and we were concerned chiefly
with their futures and their box office and get-
ting stories for them. They were the glamour
girl de luxe, Miss Constance Bennett, and the
famous beauty, Miss Ann Harding.
On other lots Mae West was knocking over
exhibitors and audiences, Marlene Dietrich was
spreading .glamour thicker than honey and
Garbo, who invented glamour but couldn't pat-
ent it, was Queen. Jean Harlow, God bless her,
was the platinum blonde dynamo and — well,
everybody had glamour. All Hollywood's gals
had glamour.
All but Irene Dunne.
Even after her enormous success in "Cimar-
ron." you could still get about a thousand to
one on Irene Dunne in the winter book. The
picture, the part, the direction — sure, it had
given her an outstanding performance.
"But." said practically everybody, "she'ir
never last. Never really get anywhere. Nice
girl — fine girl. Beautiful. Sings, too. Fine lit-
tle actress. Good reputation. But you know
yourself — she hasn't got what it takes. Might
as well face facts. No glamour. There you are.
No sex appeal. Too bad. She'll never get any-
where— you can't survive in this business with-
out glamour."
With all due respect to the glittering glamour
girls of that day, time has told a far different
story. For if you take a good look at the screen
and at the box office of 1939 you will discover
that Irene Dunne has survived. Not only has
she survived but she has distanced most of her
competition. Her position is at the absolute
top and its security grows with every picture.
And her real and deep hold upon the affection
and admiration of American audiences is un-
equaled.
To write a story about Irene Dunne is supposed
to be a hazard. The spectacular qualities so
dear to the writer's heart are, frankly, missing.
So you will forgive me if. in trying to get over
to you via the typewriter the truly amazing and
spectacular facts about Irene Dunne and what
she means to the public. I wander about a bit.
Because to me she is one of the loveliest and
(Continued on page 84)
24
(_^aw^y
A rollicking story of Joan Davis,
"Happy Hooligan" by nature;
actress at will; housewife at heart
BY SARA HAMILTON
WHEN the New York theatrical critics
handed their loving cup award to
Joan Davis for being, to their notion,
the best comedienne of last year, the gratified
lady accepted the cup with many thanks and a
muttered aside to her husband:
"But why? I haven't been comic yet!"'
To her close friends, Joan's remark seemed
both right and wrong. On the screen, they
claim, Joan hasn't touched the great well of
comedy that lies within. "She punches her
lines too hard and defeats her natural comic
ability with too much acrobatic cavorting," they
claim. "But Joan, off screen ..." and thev
begin laughing before they can finish.
So, to the off-screen Joan, the one Hollywood
doesn't know well enough to recapture for the
screen, we present our own award — a verbal
salute to a grand comedienne, a woman whose
life is a testimony to the joy that can be had
from just living. Plain, simple, everyday liv-
ing.
Joan is different from the usual Hollywood
actress. Funny, but different. Why. just to
think of Joan is to have march before your
eyes a jitterbug parade — antics so priceless that
one can treasure them as dearly as a star his
new front teeth.
My favorite is the vision of Joan that smacked
me squarely in the face as I stepped off a hos-
pital elevator to visit her during her convales-
cence from an accident on one of the sets.
In a wheel chair, hands crossed in utter re-
laxation, sat a stiffly starched nurse, with Joan,
in nightie and bathrobe, feebly pushing her up
and down the hall.
Before we could utter a word at this strange
sight, a patient, in bathrobe and slippers,
emerged from Room 12, on his way to the sun
porch. Nodding, the patien4 passed on: and
then the incongruity of the ludicrous sight hit
him full force. Whirling about, he came back,
peering wildly, first into the wheel chair and
then into Joan's face.
Clutching his forehead he let out a yelp, "Doc,
it's no use," he cried. "I've had a relapse. I'm
seeing wrong end to."
"Everybody gets a free ride but me." Joan
replied, in answer to our hysterical question-
ing. ''I have to push my own nurse to get my
back muscles in place. Can you beat it?" And
she tottered on with her wheel chair pushing.
The overabundance of life that is Joan's
failed to be downed, even remotely, by this
sojourn in a hospital.
She lay there, her masses of dark red hair
haloed about her comely face, her eyes bright
with the interesting tidbits of conversation
tossed about by the constant group of visitors,
her mind ever on the alert for the lively and
comical, her admiration for a tricky piece of
finery keener than ever.
An acquaintance, who had accompanied one
of Joan's close friends to the hospital, had
stepped out of the room while Joan said good-
by to the friend.
"Anything I can get you. Joan°" the friend
(Continued on page 90)
You laugh at Joan on the screen, but
it's in a powder-blue mosque in Bev-
erly Hills that her best shows go on
25
Game Conductor: KATHARINE HARTLE
„,
i>
****
^e
o^rr*. <!„.*.
\o
At*
\V\e
\0*
o< V" _^o«
^o»
/
In "The Castles," Fred Astaire
portrays his great childhood idol
For refusing to tell us what he
thinks about women who gush over
him (Question 10), this is his pun-
ishment— Show us yourself as you
were when you first started to
dancing school. Cute, wasn't he?
I. (Q) What is the real reason why you so
seldom dance for your personal pleas-
ure when you are at a night club?
(A) I*m glad you said "seldom" because
just the other night I had a grand time
doing the Lambeth Walk with a group
of friends at the Clover Club. But by
and large I don't dance because danc-
ing is my career, my work, and if I
have danced all day I'm glad to get
away from it for an evening. But
when it happens that the orchestra
plays an inspiring tune which just
must be danced to, then I'm out on the
floor as quickly as anyone.
2. (Q) Do you own a race horse, or do you
hope to own one?
(A) No, and again no.
3. (Q) Do you hope that your son follows in
your dance-steps?
(A) I have no set hopes on that score. If
he shows extraordinary dancing abil-
ity and wants to become a dancer, I'll
help him all I can, but first I want to
warn him of the difficulties of a the-
atrical career. I have always enjoyed
my work, but, believe me, it is not
always fun.
4. (Q) Do you believe that a dancing career
shortens a person's life?
PHOTOPLAY
Was it modesty that stopped Fred on Question 16?
We'll never know — but here's an example of his fancy
doodling, over which he has no inferiority complex
No. I have heard that theory, but I
don't believe it. I feel better right
now than I have ever felt in my life
and I've been dancing since I was
seven.
5. (Q) Do you gamble?
(A) I like to bet. I occasionally bet on a
sport event.
(9)
(A)
What makes you most nervous?
Having someone watch me when I'm
trying to originate a step or make up a
dance. It's like having someone look
over your shoulder when you"re writ-
ing a letter.
Are you inclined to sulk, and over what
little thing did you sulk the longest?
The only time I have ever sulked was
when I thought that I had won a golf
tournament, only to find that I had
been disqualified because I unwit-
tingly drove two balls off the first tee.
I am still sulking.
When did you ever grow a mustache
and was it successful?
Once in a musical comedy skit I was
required to wear a false mustache for
a characterization. That one experi-
ence was enough; since then I have
never even been tempted to raise one!
9. (Q) What kind of a soldier do you think
you'd make?
(A) I think I'd be all right.
10. (Q) How do you react when a female fan
gushes over you?
(A) Mr. Astaire took the consequences.
(Show us yourself as you were when
you first started to dancing school.)
11. (Q) What song-writing have you done re-
cently?
(A) I haven't done any. I've been too
busy. Anyway, I don't think I'll write
13. (Q) If you had not become a successful
dancer, what other career would you
have liked to follow?
(A) I would have liked to become a pro-
fessional golfer.
8.(9)
(A)
14. (Q)
(A)
15. (<?)
(A)
16. (Q)
(A)
Whom do you ever envy?
I envy all the good sports commenta-
tors and also the sports radio an-
nouncers. Next to professional golf-
ing, I believe their work must be the
most interesting.
What is your keenest personal ambi-
tion?
Just to win a golf tournament. I'm
not asking for a silver cup — if I could
only win one little penknife, or some-
thing, with my name engraved on it!
I've come close, but I've never won a
tournament.
If a hundred per cent were perfect, how
would you rate yourself as the Life of
the Party?
Mr. Astaire took the consequences.
(Let us have examples of your doo-
dling.)
(Continued on page 74)
Fred gets as big a laugh out of this
picture of himself as you will — it's
the penalty on question 38, for re-
fusing to tell us what his reaction
was whenthe nurse said, "It's a boy!"
Question 32 was an embarrassing
one for anybody — and we don't
blame Fred for taking the penalty
on it. But we made him prove that
tall fish story he told recently and,
as you see, he wasn't just bragging
MAY, I 939
BY LILLIAN DAY
HAVE been so busy with Life, itself, that
haven't had time to keep up this chron-
icle. Vacation is over! Most exciting!
But now things have settled down to a sort of
chaos. I get older and wiser each week and
have learned a great deal about people, espe-
cially men and women. In the last month or
so have been in love twice and disillusioned
three times. Note: mustn't judge by appear-
ances. Many ,a man who does the Dartmouth
Dip to perfection isn't even a high school grad-
uate.
Met Ina Claire and we became firm friends —
at least I did. She asked me if I intended going
on the stage and I said no. She said that was
the first intelligent answer she ever had from
a fan. Pops thought it was an insult, but I took
it as a compliment.
Yesterday Barbara and I drank Bruderschaft
in frosted chocolate, so nothing can come be-
tween us. We have often said that if we both
fall in love with the same man we will each
sacrifice him to the other.
Have been helping Barb stalk her ex-grand
pash, Basil Rathbone. Got two signatures each
because we changed our hats and he didn't
recognize us. The doorman at the Warwick
knows our faces by heart.
The new hats this season arc colossal. Barb
has a Tower of Pisa while I have an ofT-la-facc.
as I had my Glamour Bump pcrmanented. We
both want black dresses. She'll get hers, but
I'll probably have to compromise on pink. Barb
always Rets what she wants because her par-
ents believe In child psychology.
DECIDED to have an h. to h. talk with Pops
who is Intelligent at times. I told him about
how I had sold my precious allium full of the
very best autographs to Vera Bailey for $2.")
when hiring an Escort Guide had been B mat-
ter of life and death. He said I had no com-
plaint as that was about what the Indians got
for Manhattan I- land 1 1 think he was trying to
etiOUs). But I told him what kind of Kill
was and that it was like selling one's dog
or child to a cruel person and that if I didn't
Ket the album back I would heroine a frustrated
woman, which is considered unhealthy.
Pops asked how much it would take to buy
it hack and I said I thought she ought to take
$30 which would give her (5 profit, besides hav-
ing had possession of the valuable tome for
28
several months. He hemmed, but I must say
he didn't haw and I said he would only have
to give me twenty as I could always borrow
five from Barbara, whose parents weren't small
about money matters. That got his back up,
which I had intended, and he gave me a check
which I cashed at once. Triple wham!!!
Ben Hecht got ten grand for taking the war
out of "Idiot's Delight." Wonder what he'll get
Here's Jane Lyons again — in a
"battle of the century" that was
hopelessly lost until a dark screen
villain became a hero for the day
to lower "Wutheting Heights." Landed Luisc
Rainer, Gary Cooper and Doug, Jr. this week.
The new book is filling up. Had to cut Eng.
and Math, hut then isn't all life a compromise?
Like the time the Board of Education had the
nerve to open school the day the Normandie
arrived with Lunt & Fontanne, Sonja Henie,
Peggy H. Joyce, Robt. Donat and Burgess
Meredith! It put thousands of fans in a spot
hetween Phyllis and Charybdis. We thought of
getting up a petition to ask the Steamship Lines
and the Board of Education to cooperate. My
new Eng. teacher is a grade A Fife-star Ges-
tunk.
Barb has a cold and is ecstatic about it be-
cause she caught it from Brian Aherne at the
boat. He's in a sanitarium and she sent him
carnations (75c doz.) and a note saying that
both of them being infected with the same
germs constituted a bond between them. He
didn't answer. Come to think of it that isn't
scientifically accurate and I must call it to her
ILLUSTRATIONS BY GAIBRAITH
I told Pops that
if I didn't get
the album back I
would become a
frustrated woman
"Mr. Rathbone," I said in my lowest register, "we have both proven to you our devotion and loyalty ... we have
stood for hours in the rain outside hotels and theaters. The time has come when you can show your appreciation."
attention. They couldn't both have the same
germs, only relatives, because two things (even
germs) cannot occupy different places at the
same time. We learned that in Physics 2.
YESTERDAY aft. my attachee, Barbara Drew,
and I attempted a rapprochement with La
Bailey. We offered her a cigarette which she
accepted. I started talking about generalities,
like Eric Blore and Eugene Lockhart. Then
Barb explained that an album didn't really have
any social significance unless one collected the
signatures one's own self. No register. Then I
remarked that I couldn't understand how any-
one with a shred of self-respect, which I was
sure she had, could take credit for autographs
someone else had collected. It was like having
a Ghost Writer, than which there is nothing
more ignominious. No sale. Rather no re-sale.
Then I asked her point blankly how much
she would take for the album and she said she
wasn't at all anxious to sell. Barbara reminded
her that she had promised she would and she
denied it equally point blankly. They put it
up to me and I had to decide between telling
the strict truth and defending my chum to
whom I had sworn fealty unto death, which I
naturally did. That made Bailey furious and
she called us both liars in so many words (one).
So one word led to a lot of others and I offered
her $30 plus a new album, but she still refused.
I raised it an introduction to Raymond Massey.
(Don't know him myself yet but expect to see
"'Abe Lincoln" next week.) The more I argued
the adamanter she became. I raised to S35,
though I didn't have it. We argued to and fro
and Barb was about to offer 40 when I hinted
to her to shut up.
'"Silenzium!" I said, which is our secret code.
Then I rose and said. "Very well. Miss Bailey.
You can't say I didn't give you a fair chance.
From hence forth and on we shall sever all
undiplomatic relations. My attorney will com-
municate with you."
And with that I stalked out with dignity,
dragging Barb. I think she took the cigarette
under false pretenses.
UOT Pops to bring home legal cap and blue
backs and wrote document (copv appended).
STATE OF NEW YORK )
COUNTY OF NEW YORK\ss
WHEREAS. Jane Lyons, party of the first
part, being duly sworn, deposes and says:
That on or about several months ago she
gave, sold, vended, bequeathed and disposed of
her own personal Autograph Album, by her
personally collected and accrued at much ex-
pense and risk of life and limbs (dodging taxis)
and full of original holographs and signatures
of numerous and sundry well known celebrities,
to one Vera Bailey, party of the second part, in
exchange for the sum of twenty -five dollars
($25.00) in hands paid.
AND WHEREAS, this transfer of property,
personal and very real was conducted by min-
ors and without the consent of any of the par-
ents thereof,
AND WHEREAS said party of the first part,
who shall be known hereafter as the plaintiff,
wishes the return of her rightful property and
is willing to give the party of the second part,
to be known hereafter as the defendant. Thirty
dollars (S30.00) as payment, recompense, emol-
ument and compensation for same,
THEREFORE, if said defendant does not
comply and come across by Monday next at
6 P.M.. said plaintiff will not only institute
proceedings, but see that her attorneys TAKE
STEPS for the recovery of the aforementioned
Album.
KNOW ALL MEN BY THEIR PRESENTS.
<^ (Plainti
'.<<vc<> L.S.
ff)
^_yanV<uva_. aJKmf L.S.
(Witness)
(Continued on page 86)
29
WHY AMERICAN MEN
DON'T WANT TO MARRY HOLLYWOOD WOMEN
BY GRETTA PALMER
Take cheer, all you who envy glam-
our girls, for here are facts to
prove that beauty, wealth ana1
fame aren't always what they seem
SO you'd like to change places with a mov-
ing-picture star, would you? You'd like
her beauty, her celebrity, her marble
swimming pool and — most of all — her ability to
use these things to attract shoals of fascinating,
eligible men?
We women inevitably think of success in
terms of increased sex appeal. Unless a girl is
something of a freak, fame, beauty and money
are chiefly important to her as aids in bringing
her a long queue of eligible suitors: out of this
waiting line she dreams of finally selecting a
marquis or a famous playwright or the hand-
somest man in America. For women, on the
whole, want success as a stepping-stone to their
single-minded ambition of marrying the best
and most glamorous man in the world after
having, incidentally, broken the hearts of half
a hundred second bests.
Now, recent researches I have conducted
through the country, by train and plane and
trailer, suggest that women who envy the mov-
ing-picture stars their attractiveness to men
have been barking up a very wrong tree. We
Margaret Lindsay
f?
*
\
most of us, assumed that a successful
Hollywood actress can take her pick of the most
desirable suitors in the world.
Well, it looks as if that were the one thing she
can never do!
i out to investigate this myth that all men
dream of marrying a $5,000 a week professional
beauty out of the West. And I found, quite
simply, that it isn't true. I asked handsome
men and charming men, rich men and famous
men, and even a titled foreigner or two how
they felt about capturing the heart and hand of
one of our princesses of the screen. Almost
without exception, they rejected the idea with
a kind of horror. No wife of theirs, they ear-
nestly assured me, would ever be allowed to
live the life of a successful screen star. Not
while a drop of red blood flowed through their
manly veins!
I HE money was a serious obstacle to half a
dozen of them. Let us take, as the spokesman
of this group, a very handsome, very clever man
of twenty-six — a man who is well on the way
to the top in a Midwest advertising agency.
"I'm plenty busy trying to be a success on my
own hook," he said, "without the nuisance of
having to worry about a wife's career. It takes
all the energy and thought I can afford to figure
out ways of handling my own job and when I
get home in the evening, I'm going to want a
nice, clear-headed, sympathetic little woman to
take my problems seriously and beg me not to
work so hard.
"I want my wife to have a stake in my suc-
cess. I want her to be terribly proud of me
when my salary reaches the stage where we can
afford our first trip to Europe together and I
want her to look forward to the day when I
can move her into a penthouse.
"But if she were the one whose salary check
determined the scale on which we lived — if she
Rosemary Lane
Is it possible that American men wouldn't jump
at the chance of marrying girls like these —
talented, attractive, acclaimed? It's hard to be-
lieve, but the author of this article, after inter-
viewing rich man, poor man, doctor, lawyer,
merchant, chief, puts forth some astounding
reasons for her conviction that this is the case
, Rosalind Russell
beat me to it in renting the penthouse or taking
us to Europe, my dish would lose its flavor.
"I can think of nothing more discouraging to
an ambitious man than having the family
budget set at a higher figure than any money he
can hope to earn for twenty years. Drat it all,
I want my success to make a difference in the
way we live! I don't want a wife who has out-
stripped my earning power."
So we may eliminate from the eager queue
of suitors whom a lovely moving picture star
can claim that considerable body of attractive
men who are independent, ambitious and de-
termined to get to the top on their own.
That leaves a lot of very fine future husbands
for the rest of us, the non-star girls, to marry.
DUT money isn't the only thing that prevents
some exceedingly desirable men from wanting
to court ladies out of Hollywood. There is also
— seriously, now — the question of too much
beauty.
Take a man with whom I talked at a very
gay and expensive winter resort — a fine,
bronzed figure of a man with a pleasant, play-
boy's smile, a charming way with him and a
wife whose own estate amounts to some fifteen
million dollars.
"I wouldn't care how much money a week a
Hollywood wife brought in," he said. "Lord.
no! My own wife has more money than I can
ever conceivably hope to make, so I don't try
very hard. The money isn't the barrier — but I
wouldn't want to be married to a professionally
beautiful girl. Why not? Well, beautiful
women are, almost inevitably, spoiled. They've
been nattered and coddled since the days when
they heard their mothers' friends gush, "She's
like a little angel.' They've had young men sit
and look starry-eyed at them since they were
old enough to use their eyes — and a really lovely
girl knows everything about how to flirt when
she is ten years old.
"Beautiful women have had things their own
way for too long to be able to adjust to the give-
and-take of marriage. I've seen a lot of them
and they expect their husbands to woo them for
life and to act as if they were still trying to win
them away from a crowd of suitors.
"Beautiful women are usually bores — they
have never had to stir themselves and learn
how to be entertaining, because people gathered
around them just for the sake of staring. They
are usually selfish and inconsiderate. And the
funny thing about them is this: that when
you've been around one for a month or so, you
take her beauty for granted and you don't get
much fun out of it. anyway.
"Give me a good, homely woman who has
learned how to dress effectively and who knows
how to compensate for her lack of looks by wit
and charm and understanding.
"Fannie Brice might make a fine wife. Or
Helen Westley. Even Jane Withers might work
out okay. But heaven protect me from marry-
ing one of these Hollywood glamour girls.
They're the worst wives in the world!"
Well, so there's another set of delectable men
left over for the rest of us to scrap about: the
men who don't approve of beauty in a wife.
And that's a consolation, on more counts than
Not many of the men who were cross-exam-
ined were worried by the beauty of the Holly-
wood stars. But several dozen of them shud-
dered away from the inevitable publicity a star
meets up with. You would be surprised to find
how camera-shy the average bachelor in Amer-
ica is today.
There was a serious, well-heeled young man,
with a string of polo ponies and a series of
mansions scattered over the more habitable sec-
tions of the United States — a man who is work-
ing hard at his chosen business and has had to
evade the press photographers since he was a
child in knee pants.
There was the less celebrated lawyer in his
early thirties, who winced away from the pros-
pect of being photographed, although he had
never had a disagreeable experience with the
press.
There were bank clerks and bank presi-
dents' sons, young men who worked in chain
stores and steel mills and skyscrapers, and a
foreign nobleman. Their dislike of having a
cameraman concealed behind the bushes while
they proposed amounted, it sometimes seemed,
to a mania.
"Who wants to court a girl while half the
world is listening in?" said a tall, dark young-
ster of the type known as "Black Irish." whc
makes a good living in a brokerage house. "It
would be embarrassing in itself and a warning
to any man of worse to come.
"Imagine having a wedding with the press
pursuing you and radio commentators announc-
ing your honeymoon plans! Imagine coming
home to find that the porter at the station had
told Winchell you had an argument with your
wife about who had the railroad tickets last!
Imagine having every spat magnified, by eaves-
dropping servants, into a national scandal! The
tension would be bound to get on your nerves
so that finally you'd have a real scorcher
of a quarrel, right out in the open in the Brown
Derby restaurant, where everyone could see.
'I think that the 'fish bowl' existence fa-
mous Hollywood couples lead is disastrous to
any normal, happy married life. And I think
the statistics on Hollywood divorces bear me
out. Even Mary Pickford and Douglas Fair-
banks couldn't stand the pace.
"I will never marry any girl who's mobbed
by autograph hunters wherever she goes. The
woman who becomes my wife may be fight or
(Continued on page 85)
31
He has a good memory for
faces but forgets names
quickly . . . he's always punc-
but only moderately
he's a good busi-
an easy touch
BY JOSEPH HENRY STEELE
HF. is extremely self-conscious.
He cannot eat onions.
Hi- has a bulldog tenacity and pever
admit
He does not believe in fortune tellers or as-
strology.
His full name i-~ Spencer Bernard Tracj
He- drinks a lot of coffee, and docs not like-
radio commentate
He declines all invitations to be guest of
honor at large functions, and he has never
played golf.
He does not Ret seasick, and as a boy he was
not popular with girls. He plays fair tennis.
He was born to comfortable surroundings in
an apartment house in Milwaukee. He is a
crack polo' player.
His role as Killer Meats in "The Last Mile"
resulted in his picture debut. He weighs 170
pounds.
Ih, father was Irish.
He gets a massage every night
He enjoys reading the editorial pages of daily
newspapers.
He is not a fatalist, and he has never read
Spengler's "'The Downfall of Western Civiliza-
tion." He does not like skeet shooting.
He wants to spend the rest of his life in
Southern California. He has a good memory
for faces but forgets names quickly.
A brilliant interpretation of
Spencer Tracy — the polo-playing
Irishman who admits to no super-
stition, and rarely discusses politics
usical instruments, and doesn't
ling in night clubs. He swims
at ease in the company of
any too well.
lunch every day.
ly his father's old hunting-
he carries with him always,
suspenders, dislikes writing
e questions the genuineness of the
st in the off-screen personalities
-picture stars.
s a size forty -two coat,
ites and snaps his conversation,
oes not like stuffed squab or crepes
tte, and has a high regard for the drafts-
hip of Frank Lloyd Wright.
He thinks Panama City the most interesting
place he has ever been, and he recently sold a
forty-foot ketch which he sailed himself.
He owns a dozen polo ponies, two of them re-
tired to a life of clover.
He has a habit of leaning his head slightly
forward and looking up with his eyes. He is a
frequent patron of drive-in eating places, and
his home is of Mexican farmhouse style.
He is only moderately orderly.
He has no superstitions.
PENCER TRACY does not think the world
has improved much in the last hundred years.
He wears soft, white shirts nearly all the time.
He smokes cigarettes and occasionally a pipe.
He has never had a sandwich named after
him, and he hates wearing hats.
He hates to go shopping with his wife.
He considers "Captains Courageous" his best
picture.
He is a very good businessman and takes
good care of his money. He has no collecting
hobbies of any kind.
He has never worn spats or carried a walking
stick, and he thinks mechanical progress has
not increased the general level of happiness.
He has a son and a daughter.
He enjoys taking long walks alone.
He has never worn glasses.
He thinks most people are sincere.
He never rides hunches and has never had a
premonition.
He has a violent aversion to women who dye
their hair even though it makes them more at-
tractive.
He dislikes meeting strange people.
He is right-handed and does not like walking
in the rain.
He does not have an ear for music.
He does not like Chinese food, and he can re-
call no individual who might have been his
childhood's idol. He is very tolerant of his fel-
low man.
His favorite off-stage costume is riding boots,
breeches and a sweat shirt.
He was with Ethel Barrymore's "Royal Fan-
dango" company when a New York critic wrote
that "Tracy looked like he had been picked up
by the property man." His eyes are blue.
Spencer Tracy does not think it possible for
a person to start out in life with a definite plan
and carry it through to its conclusion.
"Too many things can happen beyond a man's
(Continued on page 89)
32
1
I
.^
k
1
»!•» '
Two sides of the picture! Top, with
Gable in "No Man of Her Own," which
started the whole romance off, then
at the height of her determined sexy
career. Left, a generous view of ap-
pealing curves. Right, Carole Comes
Marching Home Again . . . the real
Carole Lombard of 1939. A tomboy,
bespectacled, canvas jacket and cordu-
roy skirt. Not a far cry from the Fort
Wayne capers. And her public loves it!
For the filming of the Bronte classic,
"Wuthering Heights," Goldwyn, with the
greatest of ease and expense, imported
heather and the song of English larks (in
cans); lavishly rebuilt the Linton manor
house (top); and chose a cast that has
Hollywood talking — but plenty. David
Niven and Merle Oberon (left), who a
year ago were a top-line romance, now
lead a happy married life before the
cameras as Edgar and Cathy, chat cas-
ually between scenes, with all eyes (in-
cluding those of Korda, Merle's reported
fiance) at attention. Laurence Olivier
(opposite page, top right portrait), who
left Hollywood in a huff years ago, comes
gleefully back as Heathcliff because (the
columnists say) of Vivien Leigh, English
Scarlett, who can be found most any day.
on this set. The show is certainly on!
r*4
•OT^
ir right: at the window, Heathcliff, as played by Laurence Olivier; at the table,
so G. Carroll and Flora Robson. Bottom, right: Miles Mander as Lockwood
Bond St. clothes. Insert: he puts
on his camera lure at the studio
Tyrone Power: the chap that Anna-
bella likes to dance with at the
Troc; and, insert, the dark look
that makes female audiences shiver
WE LOVE 'EM
Richard Greene: two-way charm. Care-
less charm; (It certainly takes a pipe!)
dimpled charm before the cameras
Nelson Eddy, as his bride sees him across the breakfast table-
and as Jeanette MacDonald sees him through a bit of make-up
Gary Cooper: right out in the open
at the races, having hearty fun —
and Gary Cooper, the shy, silent
— and groomed — hero of celluloid
— with their film war paint off and their hair down. But we give you
here the male "umphers" of the screen both ways — as nature shaped
them up and as the make-up men turn them out. Decisions, please!
Don Ameche: Daddy playing ball and having fun with Ronnie and Don-
nie; and a screen cavalier courting (and losing) the screen glamour girls
Clark Gable demonstrates how to be
a he-man both ways: off screen,
with pipe, bangs and a few "laugh"
wrinkles. On screen, with pipe
Wayne Morris when he forgets his
screen manners and loses his dimple
and Wayne when he wears a wave
HEADWORK: JEFFREY LYNN, WHO CASHES IN ON ROMANCE IN "FAMILY REUNION
■
1 1
HEARTWORK: DOROTHY LAMOUR, WHO SWINGS A SONG OF LOVE IN "MAN ABOUT TOWN
Featuring a double exposure: Hy-
man Fink, Photoplay's cameraman —
and the amazing tricks of his trade
BACK in the days of good King Baggot, F.
X. Bushman and the Biograph Girl,
Hymie Fink was up to his armpits in
clover. The world bad not become movie-in-
sane, there w;is not a single correspondent sta-
i in Hollywood and Hymie was the only
free-lance citizen of Southern California will-
ing to sacrifice his life snapping tintypes of
movie stars.
"Nowadays," says Hymie sadly, "they give
the infants camera* instead of teething rings."
The result is a plague of picture snappers
which frightens the casual visitor and makes a
Hollywood first night something resembling the
battle of Verdun. There are bulbs bursting in
air, the flashlights' white glare and all through
the night the stars are still there — pushing their
mugs up close so there will be no mistake.
But Hymie is still top man in Hollywood,
knowing more stars, past and present, than
anybody alive and retaining their confidence
because he has never double-crossed them.
"You can have the candid camera," says Mr.
Fink. "What you get with it mostly is some-
body with his mouth open. I don't do tricks
like that to people. I've probably suppressed as
many punk pictures as I've sent out good ones
and I never send out a picture without letting
the subject see it."
Which is why in the royal days of Pickfair
when the nobility of the world fought to get
entrance to the domain of Mary and Doug,
Hymie was the only photographer allowed on
the grounds.
"Those were the times," sighs Hymie. "Mary
did things in style. The best party Hollywood
ever had was when Pickfair entertained the
Olympic Committee. There . were 450 guests,
the solid gold service was used and a tent was
set up on the lawn, a tent which might have
been used by a middling sized circus. I had my
camera in a room upstairs. I'd just go around
among the guests, ask them if they wouldn't
come up and pose and that was all there was
to it. Nobody but the people involved knew I
was there. That's the way Miss Pickford al-
ways did it."
Mr. Fink is firmly of the opinion that Holly-
wood doesn't have parties now which compare
with the old days.
"It was a smaller place, -there wasn't much
to do and everybody ganged up for a good time.
The Talmadge sisters set the pace. There were
Norma, Constance and Natalie (Mrs. Buster
Keaton) and when either of them entertained
the rest helped out. Natalie would lend her
cook, Constance would supply the butler and
Norma would look after the food. Bebe Daniels
was a member of that bunch, too, and they al-
ways had fun."
But Hymie has his present favorites, which
happen to be Joan Crawford and Marlene Die-
trich. The Crawford friendship is of long
standing, reaching its height one night at a
show in a downtown Los Angeles theater when
Miss Crawford noticed the sad state of a news-
(Continued on page 46)
v
?
0* x--
M
1
Miriam Hopkins — who has a bad
time with all photographers —
except Fink. She poses tor him
because he "protects" her
t: Mrs. Dick Bar-
iess, the Countess
asso, Rhea Gable
Mrs. Clive Brook
di Frasso party —
ided, of course,
lymie, who knows
sees all — and
H everything
-.•■•:
/
°*«fcc
O V E R
-Ae * * Vb°veJ
The Charles Boyers dine out and Boyer poses hatless:
a shot which hurt Hyman's candid soul — and Boyer's
paper cameraman, friend of Hymie's, learned his
wife was seriously ill in the hospital and offered
to take care of the doctor and hospital bill.
"Called me two days later and bawled me
out because I hadn't been reporting promptly
about the case," says Hymie, a sentimental sort
of guy who appreciates such things.
AT THE present writing. Hymie lias entry into
every home in Hollywood except Greta Gar-
bo's. Some of his great battles have been fought
over getting personality shots of that lady. Dur-
ing the masculine period of Garbo's life — the
epoch when she was wearing trousers — the ex-
citement became so intense and the yowling
from editors became so frantic that Hymie
finally gave his life over to the chase.
After months of vigilance he discovered that
Miss Garbo and Miss de Acosta would appear
at the Trocadero on a certain winter evening.
The management of the restaurant conferred
with the camera guys, pointing out very sensi-
bly that it would only frighten Miss Garbo
away if any monkey business took place as
soon as she reached the establishment. What
they should do was wait until she was leaving.
They agreed and the vigil began. The Garbo
party arrived about eleven, with drawn veils,
hands over the face, and sheltering associates.
Hymie, who had once before rested uncom-
fortably on the running board of a car for two
hours to get a Garbo shot, now repaired to the
rear of the Trocadero and took up a position
behind a rain barrel. This foresight arose out
of a tip from the management that Garbo, upon
departure, would use the back door.
After three hours of resting alternately be-
hind the rain barrel and a pile of lumber, Hymie
was rewarded. The back door opened and
Garbo came out. She came out, but she came
out running.
"Running," says Hymie, disgustedly, "and
with her hands over her face. What I got was
a shot at the side of her face and a good view
of the pants. I had to make that do."
MR. FINK arrived in Los Angeles in 1904 from
Chicago, his old home town. The hangout for
movie people in that period was the Rosslyn
Hotel in Los Angeles, where Charlie Chaplin
made his headquarters. As soon as that be-
came cluttered up with tourists, the movie gang
moved. The next spot was the Russian Eagle
and after that came the Montmarte, which was
a terrific rage for several years. That was fol-
lowed by Eddie Brandstatter's Embassy Club,
where you had to join and present a card. Eddie
SEEING STAR
FIRST LOVE
< a
j
Fearless Fink shoots and MargareJ
speaks candidly of Hedy La- sneak u
marr who, when posed, is theater,
perfect. Unposed, he con- how she
siders her "flash sexless" is lookin<
One of the best candids ever to be taken of
Marlene Dietrich is this shot by Fink, who
considers her the most beautiful woman in
Hollywood — for reasons purely photographic!
took advantage of the opportunity, however, by opening a larger
club next door for the visiting firemen. On great days he
opened the doors between the clubs and gave the hoi polloi a
treat. The next triumph was the Cocoanut Grove of the Am-
bassador Hotel, where a series of Tuesday nights was started
which still gets a full list of movie stars every week. No other
Hollywood spot has hung on with such persistence. The different
restaurants are mentioned because they were and are the happy
hunting grounds for Hymie Fink. The Brown Derby was started
by H. K. Somborn, ex-husband of Gloria Swanson; Henry's be-
came the hot spot for a time; the Vendome came along to make
a small fortune out of food and drink alone and now the Troc-
adero is the best known. Hymie starts out in his soup and fish
suit every night, shoots the big names at the various hangouts
and then goes home to develop his negatives in his own $5,000
laboratory.
"I use a case of film a month on an average," says Mr. Fink.
"That's thirty dozen films."
Mr. Fink is now staff photographer for Photoplay, but in the
beginning he sold his wares to any possible market. The price
was three to five dollars a print, with ten dollars from the larger
magazines. The Spanish market — Central and South America
- — paid fifty cents a print. It doesn't sound like much, but when
the price of the print originally was around a cent, one could do
all right with quantity.
I HE great parties of Hollywood, in addition to those given at
Pickfair, were thrown by Countess di Frasso. The Countess
came along and overturned the works. For one binge she im-
ported a whole prizefight card, preliminaries and final bout. At
another she provided paper costumes to wear over the regular
white tie and tails. Hymie was in on all those, but when Fredric
("Continued on page 48)
Right: Mrs.
smile and thel
usual picture,!
approved by
no Fink is
the subject]
makes for
*<*.?> M
'«K
«*,
<?/•
"VS/J *>y 1 fey
c*r
HAN DID LIGHT WITH FINK/
Food means more than photo— even to a star. So Fink haunts the commissaries. Here
he spots he-men Clark Gable and Spencer Tracy deep in lemonade and conversation
iMarch hurled his celebrated old German beer
[bout, Paramount handled the affair and barred
ill photogs. The Countess di Frasso fixed the
fsoys up, upon approach by Hymie.
'You come up to Pickfair first," she said.
'Til fix it with Mary. She's having the outfit
Ithere for cocktails and you can get them before
fthe beer rout begins."
Hymie and the boys get dolled up exactly
le the guests those days and were very much
pured by a decision of the Mayfair Party group
/eral years ago to bar cameramen. Hymie
1 up in his party clothes, but the com-
kttee was adamant.
"You can't get in," they said. "If you want
) get anybody, you'll have to catch them on
le way in or the way out."
The boys conferred about it and came to a
decision, which was reported to the authorities.
"Either we get in or no pictures at all," and
Lhe photogs then pulled what Hymie thinks is
'he first sit-down strike in America. The boys
?ly sat in the entrance way on their camera
^s and refused to snap a picture. Along
lut midnight the committee collapsed under
w
pressure from their eager membership and
vited the lens-shooters within. Since
everything has been okay.
One afternoon at the Santa Anita race ti
Oliver Hardy, of the Laurel and Hardy t<
perpetrated the abysmal error of getting ai
with a cameraman. He nearly suffered the
of oblivion for the better part of a year,
a shutter snapped at the approach of his he
some face and it was only when he-made am
at the Photographers' Ball that the ban
lifted. You can't slight the men who limn
mugs of the Hollywood great.
The matter of still photographs is so im
tant to a film star that they have a diffe
make-up for public appearances.
"Heavy rouge photographs black," says
Fink, "so they avoid that, the wise ones. <
tering lipstick has equally bad results. If
aren't careful, they're apt to look like wal
errors. I protect them, but some of the one-
fellows don't bother."
Miriam Hopkins has a bad time with pho
raphers for several reasons. For one thing
gets sick in crowds and a bit hysterical,
has to suppress a desire to scream and run.
another thing she is a blonde, with blue «
light eyelashes and a light Up make-up
result is bad in a still camera shot. Bing Crc
Fred Astaire and Charles Boyer have high f I
heads and have learned to keep their hat I
when being photographed.
"If you shoot a picture of those fellowJ
high, it makes them look bald," says Hyml
A CAMERAMAN with an evil nature can rl
a lot of trouble. In the crowds of an opeil
he can take a shot of a Mrs. Smith and I
Jones which makes them look as if they 'I
in each other's arms and which will bring!
Smith and Mrs. Jones into the divorce ecl
with blazing eyes. For that reason.
(Continued on page I
IV
2
Mtii^y
&
A favorite Fink trick is to sneak up oil
stars at the West Side Tennis Clubl
Notables concentrate on ten nisi
Hymie concentrates on the notable?!
Resu|t — a splendid unposed shol
such as this of Fredric Ma re I
r
J
Alice Faye's white leda cloth and ermine evening
coat has real fashion news in the fur panel outlined
by scallops and the shaped inset at the waist with
flattering fullness above. Royer, who designed this
coat, prefers this line to the more severe princess
silhouette. • The wrap is part of the beautiful
wardrobe Alice will wear in the Twentieth Century-
Fox production, "Rose of Washington Square."
The sketch insert shows Royer's suggestion for
adapting the styling of the coat into an alternate
fabric combination — a carefully selected printed
fabric for the coat with panels and waist inset
of taffeta in the dominant coloring of the print
l
/k
\
.
Rosemary Lane chooses a polka dot
frock of luggage tan and white tie
silk that is likewise foil for accessory
changes. As pictured, it represents
the perfect occasional frock. How-
ever, when Rosemary dons the lug-
gage tan straw cartwheel sailor, the
matching gabardine bag with white
handle and white gloves (shown in the
sketch below), it assumes a dressy
mood. When she assembles it with
white shoes and the white pique hat
banded with luggage tan, white pique
bag and white gloves (shown in the
sketch below, right), it becomes
a chic spectator sport costume.
Rosemary's newest film for War-
ner Brothers is "Family Reunion"
THIS TAG IDENTIFIES
AN ORIGINAL PHOTOPLAY
HOLLYWOOD FASHION
LOOK FOR IT
YOU WILL FIND IN THE SHOPS
Little dresses with important "tops"! Ellen Drew, who appears in Paramount's "The Gracie
Allen Murder Case," suggests the bolero model (left) that features vertical stripe treat-
ment, crisp pique trim and contrast leather belt for warm weather street or travel wear
— or the striped redingote with velvet collar over a sheer acetate rayon frock with short
sleeves and white accent (above, center). Both of these frocks are the new Lac-er-sheen
in "Four Corners" fabric. Ellen picks the little sheer frock (above, left) for a luncheon-
through-dinner-date day. The pleated skirt matches the separate pleated jacket and the
leather posies repeat the contrast coloring of the belt. This frock may be selected in
navy, green or blue. The tricky jacket of Ellen's dress (above, right) is of pink (you may
choose it in citron if you prefer) — the generously gored skirt of navy. Ellen's frocks
shown on this page are Jeanne Barrie models and may be found at your favorite shops
WHERE TO BUY THEM
The smart advance Photoplay Hollywood fashions
shown here are available to you at many of the lead-
ing department stores throughout the U. S. right now.
If you will write to the address given below, sending
description or clipping of the hat or garment, you will
ndvised by return mail where, in your community,
the item or items may be purchased. These hats and
garments come in all sizes and in all popular shades.
Address your letter to —
Jean Davidson, Fashion Secretary,
Photoplay Magazine, 122 East 42nd St., New York,
New York
Hollywood tops spring formals with
mink chubbies. Patricia Morison, a
talented young actress appearing
in Paramount's "The Magnificent
Fraud," chooses one with neatly
squared shoulders, wide sleeves that
stop just below the elbow, a collar-
less neckline and slit pockets. Be-
neath it, Pat wears her favorite
spring formal — a three-in-one gown
created for her by Edith Head. The
pencil-slim slit skirt of heavy white
crepe is seen in the photograph.
One of the trio of interchangeable
blouses is pictured below in Miss
Head's sketch — a red and white silk
jersey blouse, surplice and kimono
cut, with wide girdle that loops and
flows. Other alternatives, not pic-
tured, are a gaily printed crepe
blouse or a sweater top of char-
treuse cashmere monogrammed in
lacquer red.Willard George of Los
Angelesdesigned Pat's minkchubby
PHOTOGRAPHY
WALLING
HOODS. HOLLAND
AND HISTORY
INFLUENCE NEWEST PLAY CLOTHES
I ITTLE RED RIDING HOOD will have nothing on you when the time
comes to "go out to swim" in your newest play clothes. For said
^^play clothes, this summer, come complete with hood. And you'll
wear 'em — or else.
But you won't mind. A wise girl, you know that bonnets and hoods —
with soft contrasting linings, clever shapes and fastenings — are as flatter-
ing as they are smart and new.
Designers divide the credit for this new "influence" on your ward-
robe. To demonstrate, we submit these photographs of the star of
RKO'S "Sorority House," Anne Shirley, in three play costumes.
Anne goes Dutch girl (above, left) in a lime-green cotton ensemble —
a matlatex one-piece swim suit printed in lime green, leaf green and
brown. Over it, she wears a fitted, pouf-sleeved blouse of matching
print matlatex and a lime-green skirt shirred to a high waistline in
peasant basque style. Her hood bonnet and bag are of natural raffia,
hand-painted in a tropical California pattern. Note the wooden shoes.
The slack suit Anne wears (above, right) goes back to the days of the
medieval huntsman of the Austrian forests for its "jager" hood, which
is attached to the Coronado Rouge (a new shade resembling cyclamen)
Amigo cloth (Crown Tested Rayon) blouse that tucks into matching
corseleted slacks. The hood is lined — a crafty touch — with contrast
white. Both blouse and hood arc stitched with white braid in a typical
medieval pattern. And observe those wood and leather shoes called
"puddle jumpers," and the bracelet of sea shells.
Speaking of the medieval, Anne's terry cloth full-length beach coat
(left) is an accurate copy of a monk's hooded robe — though somewhat
more gaily colored, as bold stripes of red, orange, green and plum band
the sleeves and the hemline of the skirt.
To conclude — with a word of warning! Not only will you wear hoods
out to play; you'll wear them out to dance. Watch for the new hooded
evening coats made of old-fashioned glazed chintz. These coats are
elaborately quilted and the giddier the patterns, the smarter.
Anne's play clothes were selected jrom The Broadway-Hollywood,
Hollywood.
><\^.
*J*
jm
WL
GOSSIP OF HOLLYWOOD
Some say romance anffa'new hair-do are syno-
nyms. Anyhow, Lew Ayres and Norma Shearer,
so chicly coiffed, have Hollywood guessing
PHOTOGRAPHS BY HYMAN FINK
A Fink scoop — Mr. and Mrs. Ronald Colman leaving the Marcel Lamaze Cafe
Swing It, George Brent:
I HE first day George Brent emerged from his
house and noticed a tousle-headed neighbor boy
standing by the door leading to the garage, he
thought nothing of it.
"Hello," George said and moved on.
The second day, when he found the boy in
the same spot, it seemed more than just a hap-
pening to Brent, who stopped for a chat.
"Did you want something, sonny?" George
asked.
"Yeah," grinned the boy. "I wanted to ask
if it wuz you making them noises on the piano?"
"Why yes, it was," said George. "You see I
was practising my scales. I — I'm taking up
music," he added.
"Why?" asked the boy.
"Oh, because I always wanted to."
"You call those funny noises music?" the boy
asked, not at all impolitely, but just curiously.
"Well, not yet," George admitted, "but it will
be some day."
Next day the boy was babk. Waiting. "Look,
Mr. Brent," he said, "I don't think you're going
to ever make music the way you're going, so
look — I brought you this."
And in his grubby hand he held out a badly
used, slightly rusted mouth organ. Mr. Brent
accepted with thanks.
Embarrassment Corner:
HOWARD HUGHES, who is really a shy young
man, had admired Olivia de Havilland for ages
but just never had the courage to ask the beau-
tiful little star for a date.
But one evening chance threw them together
at a party. Howard asked Olivia to go step-
ping, at Ocean Park of all places. So Olivia
and the veteran of a round-the-world flying
trip decided to fly around on the merry-go-
round. Howard chose his horse carefully, his
heart beating high at being with the lady of his
dreams. And then something horrible happened
to our flying hero right before his lady fair.
Hughes grew so dizzy on the merry-go-round
he had to hold on to the horse's ears until
Olivia helped him off. Why, Mr. Hughes!
Flash
A SCOOP for you girls with red-gold hair like
Jeanette MacDonald's. Why not copy the style
set by the star when choosing her gowns for
her concert tour?
Jeanette had all the materials for her concert
gowns dyed to match her hair. The effect under
the evening lights is beyond description. Why
not bowl over your friends with the same idea,
you golden red-haired girls?
59
Among the fascinated spectators who attended
Irene's showing at Bulloclc's-Wilshire were: above,
Paulette Goddard and her mother; opposite
page, Ty's heart-throb, Annabella, and Claudette
Colbert; and, far right, that trio of style-con-
scious gals who oh-ed and ah-ed in delight — Vir-
ginia Bruce, Mrs. Gary Cooper, Dolores Del Rio
Designer Howard Greer, Eric MoU
ler, hat stylist and protege of Joan
Crawford, B i 1 1 i e Burke, Charles
Martin and his best girl, Joan, ad-
mire one of Irene's chic models
Who Shoots Yon Gray Head
nE lay ourselves open to instant mayhem by
ling Hollywood's hottest rumor of the
month. In fact, the whole town is asking, "Is
Hedy Lamarr a flash in the pan?"
Long before M-G-M decided to shelve the
fortune tied up in "I Take This Woman," the
whispers grew that Hedy wasn't living up to
her tremendous and too sudden acclaim in
"Algiers." Conferences were hastily called.
They resulted in script changes. The problem
was In no way solved, so more lines of dialogue
injected here and there. Matters were
immediately made worse. When beauteous Hedy
talked and talked and talked, all her sultry
charm disappeared. She was no longer a mys-
but only another screen beauty, chatting
away for dear life.
Headl and hearts around the studio ached in
unison. In their possession was a billion dol-
lars worth of something and no proper setting
to display it. There wasn't an "Algiers" or a
Charles Boyir in Bight And, while the love
scenes between Walter Pidgeon and Hedy were
convincing, those between Hedy and hero
Spencer Tracy lagged. It was all pretty awftlL
With the world crying for Hedy, it became a
major crisis of sorts, putting M-G-M, who
wasn't prepared, on a great big spot.
Suddenly and with deadly finality the whole
completed picture was shelved — maybe to see
life again through surgery of some sort, or
maybe to lie forever in state, a bitter reminder
to a studio who wasn't prepared for so rare a
happening as Hedy.
The question of Hedy's acting ability has been
discussed and rediscussed, with the town pretty
well convinced that Hedy, after all, did little
high-powered emoting in her first American
picture. But then she didn't need to.
Now the town wonders if the mysterious for-
eign allure of the picture, "Algiers," plus the
dark and handsome charm of Charles Boyer
may have provided a background for Hedy that
can never be equaled.
In short, the whispers of "Is Hedy a gorgeous
flash in the pan?" still grow. And can only be
answered by her next picture.
Family Argument
I HE hatchet, buried so long between Douglas
Fairbanks, Sr. and Douglas Fairbanks, Jr. has
been dug up again and the two are having some
more or less friendly arguments with plenty of
gestures to emphasize the points. A few years
ago Doug, Sr. protested his son's early entrance
into pictures.
"You're too young to be an actor. I want you
to get an education first. Go to Harvard, go to
Yale, go to Princeton, or somewhere, and we'll
see about it later," he said.
The present bone of contention is caused by
Doug, Senior's efforts to secure his son as an
EXCLUSIVE! FASHION SHOW
actor in his own production, "The Californian,"
while Doug, Jr. insists on being made a pro-
ducer.
For his side of the argument, Doug, Jr. has
told his father:
"Once you thought I was too young to be an
actor and I became one. Now, you say I'm too
young to be a producer. We'll see about that."
It isn't a quarrel between father and son,
for the two Fairbanks are more than father and
son — they are close chums.
"We're having the matter out in exactly the
same manner as any producer would argue with
any star. I want Doug on my star list. He wants
to be there, but with the producer concession,
and there you have a strictly professional tus-
sle," said the proud papa.
While Hollywood is watching this battle be-
tween father and son it has even money on
Doug, Jr. to win, for didn't he have his own way
before and isn't his dad glad of it?
Gray Days for Lombard:
AND the bride wore gray.
When Carole Lombard and Clark Gable an-
nounced their intentions to wed, the question of
what the bride (a divorcee) should wear be-
came important not only to Carole but to
thousands of other women who were about to
marry for the second time. Carole never faltered
in her choice for a moment.
"A gray suit," was her decision. But the
problem wasn't solved that easily. There are
grays and grays, some flattering, some hard and
cold in tone, some unkind to blondes, as every
woman knows. So, in order to secure exactly
the proper shade for her, Carole devoted "a
gray week" to the»selection of the color. Irene,
who was to create the suit, began by sending
to Carole sample after sample of gray materials
ranging in tone from rose-gray to blue-gray.
Between his "Gone with the Wind" scenes,
Mr. Gable would aid Miss Lombard in the
elimination of tones, until, finally, the exact
"Lombard gray" was chosen.
So, when you gaze at pictures of the newly-
weds, remember this little story behind the
wedding suit and, with a smile of universal un-
derstanding among women the world over, wish
the bride a long and happy marriage with no
"gray" ending.
60
iter
RINGS OUT HOLLYWOOD'S MOST GLAMOROUS STARS
A Doggie Story
mANY and great have been the sacrifices
for a motion-picture career, but none on a par
with that of Spook, who has exchanged not only
his good, he-dog name but his very manhood
for his role of Daisy in Columbia's new "Blon-
die" series, inspired by the ''Dagwood and
Blondie" comic strip.
Still, Spooks — pardon us, it is to be Daisy
from now on, throughout the series and ad in-
finitum— doesn't seem to care. We saw him —
pardon us, her — at the studio just the other
day and she seems to be bearing up bravely.
Daisy has no illustrious ancestors of blue-
ribbon standing. She is just a mut with ears
suggesting the cocker influence and a hide
reminiscent of Irish terrior. But she really
doesn't need background. She is drawing her
S150 a week in the movies because she has
something still better — brains.
For instance, the day we met Daisy at Colum-
bia, we also got acquainted with little Larry
Sims, "Baby Dumpling" of the "Blondie" pic-
tures. He is a cute kid, Larry, and we were de-
lighted with him. We talked to him. We asked
(Continued on page 96)
V
& +
'<%.
'** **,
%;^,
'**
V %
*
Farewell party: Ray Bolger,
Cary Grant, Marlene Dietrich
and Michael Brooke see Noel
Coward (next to Marlene) off
F
SPIRIT OF CULVER-Universal
IN this picture. Jackie Cooper plays the son of a
war hero. The boy is picked up from the bread
lines by the American Legion and given a scholar-
ship to Culver Military Academy. He goes for the
bread and butter, but holds no brief for the school's
patriotic theory that "there are some things worth
dying for." It is the task of his roommate, Freddie
Bartholomew, to bring the dissenter to his senses
so he will want to rush out to the next war. Henry
Hull, playing young Cooper's father, gives a con-
vincing performance. As for the moral: war-hat-
ing Americans may be inclined to agree with Jackie
when he says. "I would rather exchange this Con-
gressional Medal for my father." There is little plot.
BLONDIE MEETS THE BOSS-Columbia
I HE irresistible Bumsteads — B!o?idte, Dagwood,
Baby Dumpling and Daisy, the pup — return and this
time offer better entertainment than before. Skin-
nay Ennis and his band contribute with their em-
phasized swing.
Arthur Lake, as Dagwood, has a fight with his boss
(Jonathan Hale) and is fired; Blondie, still played
by Penny Singleton, takes over his job and he stays
at home to cook and wash dishes. Meanwhile, Baby
Dumpling, Larry Simms, and Daisy get into the same
troubles which make you laugh at them in the com-
ics. There is a well-done jitterbug sequence in
which the entire idea of acrobatic dancing to im-
provised jive is satirized. No great budget has been
expended on this effort but it will please you.
THE NATIONAL GUIDE
M 0 T
* THE LITTLE PRINCESS-20th Century-Fox
THE FLYING IRISHMAN-RKO-Radio
* DARK VICTORY-Warners
wERTAIN observers have noted in Shirley Temple's
recent pictures that she was not living up to the
standards she had set herself. Her studio, implied
these critics, had better do something — quick. The
studio has. This is it. "The Little Princess" is not
only the best of the Temple films but it is also one
of the most charming melodramas Hollywood has
produced in months. The inveterate readers among
you undoubtedly remember the story — that of a sol-
dier's daughter who is placed in a swank English
school while he goes off to war; he is rich and the
child is treated like a princess, until word comes of
her father's death and of her Impoverished condition.
Then the hardhearted schoolmistress cracks down,
'kch little girl to the attic and
makes her work in the kitchen. But the moppet
will not believe her father is really dead and
scare),' pitall every day, hoping to find him.
Wall Disney has Said this picture is "Snow White
in the flesh" and there can be no better comment.
Shirley will remind you of the Disney heroine and
ii the old Witch to perfection. There is
a ball< while Shirley dreams) which has
such a quality of pathological unreality you will
want your breakfast coffee immediately afterward;
Ian Hunter plays a .sympathetic father, Richard
Greene and Anita Louise provide a nice touch of
romance. Sybil Jason is magnificent as Becky, vying
with Miss Temple for best performance, and the
production — all in Technicolor— is superb through-
out. Arthur Treacher and Cesar Romero do well.
I HE main trouble with this would be that no one
is any longer sitting up nights over the fact that
Doug Corrigan flew to Ireland without a permit.
Still, you'll find a nice hour of entertainment here.
It's in good taste, this film. It doesn't try to be any-
thing it couldn't be and neither does the Corrigan.
He just wears his leather jacket and takes direction.
He has three expressions — low, which signifies de-
jection at the many tough breaks life brings to him;
medium, which is when he is flying; and high, when
he smiles. That smile does something to your heart
when you see it.
Of course, there is not much story since it is the
tale of Doug's life and that is primarily one of
dogged hard work and an eventual climax when
foolhardy desperation takes the place of relaxed am-
bition. It all starts with the quarrel and separation
of the child Corrigan's parents, played without the
least conviction by J. M. Kerrigan and Dorothy
Peterson. Then comes years and years during which
Doug slaves away in airplane factories for a pit-
tance, still managing to put his brother, Eddie Quil-
lan. through college, although saving a few dollars
a week toward a plane. Successive disappointments
do not dismay the fighting Irishman, not even when
the plane he buys with what is left of his Dad's
estate is ruined by a crackpot ex-war ace.
Anyway, the flight to Ireland happens and you
will learn that he really did intend to fly there —
surprise, surprise — and that his brother helped him.
Doug is happy about the whole thing, no doubt.
BE warned to rest up several days in advance with
watching of the diet and plenty of sleep before see-
ing this. It is nerve-shattering — exhausting your
emotions and so heartbreaking your evening will be
ruined. We do not imply it is too melodramatic.
It takes a great picture to do that to an audience.
And "Dark Victory" is a great picture. Its story is
deeply moving and powerful to a degree. The per-
formances of each member of its superlative cast
leave nothing for criticism. From a production
standpoint, it is superb. But, it is not a pleasant
film any more than the Russian classics are pleasant.
It is the story of a woman, young, rich, desirable,
vital, who begins to lose her grip on life. Bette
Davis has this role and when she loses her grip
before the cameras, any audience needs must turn
its eyes away. Eventually her best friend and sec-
retary, Geraldine Fitzgerald, persuades her to see
a doctor. This is George Brent, a brain specialist.
He discovers her case is hopeless and that she must
die within ten months. The two have fallen in love
with each other and everything depends on the fact
of secrecy so that Bette may not discover her doom.
But she does.
Thereafter, the picture concerns her solution of
her great problem. Brent has never looked so well
and he has the intelligence to underplay Davis —
well there are no words. Bette's characterization of
illness and recuperation, her control are matchless.
Humphrey Bogart plays the trainer she employs for
her stables and gives a virile, appealing performance.
62
MY WIFE'S RELATIVES— Republic
IN this episode in the lives of the Higgins family,
Joe Higgins suffers one calamity after another. He
loses his job, sets up a candy business for himself
and is unable to continue the payments on his wife's
ring. His family suffers through all this since Mary
Hart, his daughter, is engaged to the son of his ex-
boss. The Higgins family consists of the Gleasons,
James, Lucille and Russell; also Grandpa, Harry
Davenport, whom it is always a pleasure to see. and
young Tommy Ryan. It's a homey little group, all
of whom have a pretty tough time of it, what with
a designing widow trying to marry Grandpa and
almost succeeding. Distinctly not recommended for
sophisticated audiences, but you're likely to get a
few laughs.
* NEVER SAY DIE— Paramount
WHILE Bette Davis completes her eight months of
remaining life, Bob Hope, on another screen, is told
he has only a month to live because he is hyper-
acid and is going to digest himself. It's all a mis-
take, of course, but Bob doesn't think so. Neither
does Martha Rave, the Texas heiress who marries
him to escape being sold in wedlock to a Prince.
At this point. Andy Devine, Martha's home-town
sweetie, appears in the Swiss town where this all
happens and you are treated to the highly comical
situation of a couple on a honeymoon with fiance
in attendance. Naturally, it's confused, but out of
the chaos Bob manages to pull a succession of
funny gags so that you simply relax and laugh.
Martha is less boisterous than usual.
SERGEANT MADDEN— M-G-M
IT'S pretty hard to be a good policeman and a good
father too. but Wally Beery, as Sergeant Madden, is
equal to the occasion. He tries desperately to divide
his love between his job as a New York cop and
his family of four — wife, Fay Holden, son Alan
Curtis, adopted son of a police pal, Tom Brown,
and doorstep daughter, Laraine Day.
Everything might have been all right, if Alan had
used his natural fighting spirit beating down crime
instead of adding to it. first by being a rotten
fighter, later by turning out to be a disgruntled
rooky cop. He leaves in a huff, taking Miss Day
with him as his wife. Lots of other things happen,
but they all add up to a great deal of shooting and
sentiment on the part of Beery.
AYES YOUR PICTURE TIME AND MONEY
THE BEST PICTURES OF THE MONTH
Dark Victory The lee Follies of 1939
The Little Princess Midnight
Never Say Die Wife, Husband and Friend
BEST PERFORMANCES OF THE MONTH
Bette Davis in "Dark Victory"
George Brent in "Dark Victory"
* MIDNIGHT— Paramount
• THE ICE FOLLIES OF 1939— M-G-M
Joan Crawford in "The Ice Follies of I939"
James Stewart in "The Ice Follies of 1 939"
Shirley Temple in "The Little Princess"
Sybil Jason in "The Little Princess"
Claudette Colbert in "Midnight"
Bob Hope In "Never Say Die"
Loretta Young in "Wife, Husband and Friend''
Warner Baxter in "Wife, Husband and Friend"
W. C. Fields in "You Can't Cheat an Honest
Man"
Henry Fonda in "Let Us Live"
IROM "Zaza" to '"Midnight" is a longer and harder
step than it sounds, but Claudette makes it with the
insouciance which typifies her. This is a confused
story with many slightly reminiscent counterplots,
but it is gay and the cast are well-dressed pleasant
people and the action keeps right on going along.
La Colbert plays an American chorus girl stranded
in Paris, with nothing but the dress she's wearing
and a pawn ticket for her suitcases. Cab driver
Don Ameche sees her plight, picks her up, buys her
dinner. They quarrel and while Claudette is run-
ning away from him she sees an enormous house
where a party is being held. She goes in, handing
over her pawn ticket in lieu of an invitation. Is
that clear so far? Well, so she gets into a bridge
game with John Barrymore, Mary Astor (who is
Barrymore's wife) and Mary's lover, Francis Led-
erer. Claudette says she is the Baroness Czerny
— which is Ameche's name. Barrymore conceives
the idea of using her to lure Lederer away from
Man.-. John, therefore, sets her up in the Ritz and,
as things turn out, Claudette must seek legal di-
vorce from a man to whom she has never been
married.
Through much of this chaotic affair Ameche
barges youthfully, using his engaging smile to cover
the faint disbelief of the whole idea. Claudette
gives the performance you have come to expect
from her. looks more beautiful than ever and ex-
udes unlimited charm. Miss Astor is lovely; Led-
erer, eager; Barrymore, ineffably himself.
OOXJA HEXIE and her studio have had a monopoly
on big-time movie ice spectacles until now. But
Metro has entered the field with this Gargantuan
frozen follies and it must be admitted that they have
something here. The company that successfully
followed the Henie troupe around America has been
used for the show and the routines are done with
perfect technique and finish. In addition, there's a
love story to amuse you between Joan Crawford
and Jimmie Stewart, just a wee dr,op of sadness
and quite a good portion of pleasant comedy.
The skating numbers and the finale in Techni-
color are presented in the musical comedy manner,
going on for reels while the story waits, and they
offer some new twists. But, after all the build-up,
Joan does not set foot on the ice once and her
touted three song numbers have been cut out. You
are allowed just a bar or two in her remarkable
voice to make you wonder why. As for the story —
Jimmie has been a skating star, but he has hired
Joan, who can sing but can't skate very- we!
she has ruined his act. They marry and Jimmy's
partner. Lew Ayres. goes off on his own with the
remark that Joan may be a burden to her husband.
Whereupon, she marches to a studio, gets producer
Lewis Stone to sign her and becomes a star. Jimmy
has no alternative but to make a success of his ice
follies idea. Miss Crawford is not called upon to
emote and is sensible enough to take the part for
what it is worth — but it is not worthy of her.
(Continued on page 92)
63
"Gone with the Wind" is under way with Clark Gable,
just as we pictjred him months ago, as Rhett and
Vivien Leigh, over whom "Scarlett" fever still rages
r
WE
COVER
f
''4
THE
STU
WE said we didn't believe it.
"Tell us," we said, "that Greta
Garbo is hunting autographs; that
Shirley Temple has been sent to reform school;
that Jimmy Cagney is baking a cake. Tell us
anything. But don't tell us 'Gone with the
Wind' is actually shooting!"
"Come over and see for yourself," said the
Selznick-International man.
How could we resist making "The Wind," as
Hollywood knows it, our first stop on the
monthly set circuit? After these months of
waiting and waiting — false hopes, phony Scar-
letts, reluctant Rhetts and so forth — a mere peep
at the champion never-never movie in actual
production is like a preview of the millennium.
We won't go into the strung-out saga of what
double-trouble Selznick has had getting "The
Wind" blowing. Or the countless hopefuls who
have paraded past the test camera, or the bally-
hooed search for Scarlett which ended quite un-
spectacularly one day when a green-eyed Eng-
lish girl named Vivien Leigh on a vacation to
Hollywood visited the Selznick studio and heard
a big man clap his curly head, point to her and
say, "Good Heavens — there's Scarlett!"
That's all history — and so, of course, is "Gone
with the Wind," which is a polite way of say-
esson in manners is what the scen-
st got when Shirley Temple turned
iter on her new 20th Century-Fox
cture, "Susannah of the Mounties"
64
Hollywood makes another convert
— England's lovely Margaret Lock-
wood of "The Lady Vanishes," plays
in "Susannah of the Mounties"
"The Life of Alexander Graham Bell,"
starring Henry Fonda and Don
Ameche, is history — authentic, ex-
cept for one thing — no spinach!
At Universal where Bina Crosby's
making "East Side of Heaven," he's
up agains+ -eal competition — young
Sandy Honvills has him on the run
The dye is cast! The Rubicon is
crossed! Here's the first set news
of GWTW and other exciting ad-
ventures in Hollywood this month
BY JACK WADE
ing that you ought to know all there is to know
about this Civil War classic by now.
What we are surprised to learn, as we go
marching through Georgia at Selznick's, is that
for months and months they've been shooting
parts of this picture, without, of course, the
stars. For instance, the spectacular burning of
Atlanta, fiery and realistic in Technicolor, is all
salted away in film.
The scene we take in today, however, is a
Confederate ball and bazaar; the one, you'll re-
member, where Scarlett shocks all of Atlanta
by jitterbugging in her widow's weeds with that
handsome Charleston scamp, Rhett Gable.
First of all, a report on Vivien Leigh. Holly-
wood already has agreed that she's the happiest
choice any one could have made. Even swamp
angels from deepest Dixie put their okay on
her accent.
Vivien is petite, with dark ringleted hair and
genuine, 18-karat green eyes. We have looked
right in 'em and we know. She has a mischiev-
ous, slightly petulant mouth and every move-
ment of her trim body says sexily, "Watch out."
Yessir, we are on Vivien's side — definitely.
Gable looks like a real Big-Man-From-the-
South. In a black frock coat, starched bosom
and ruffles, he makes a menacing, impressive
Rhett, and he's a little pleased about it, too, we
think. He practices a waltz in one corner.
"If I had known," says Gable, after a few
turns, "I'd have to dance the first thing in this
picture, I would have seen my lawyer. After
'Idiot's Delight' I see where I'm going to be
typed."
We have a feeling that everybody is trying
too hard to make "Gone with the Wind a
super-colossal epic. One scene we watch takes
tiventy-seven times until Olivia De Havilland,
who has been doing most of the blowing up, is
in tears.
SELZNICK-INTERNATIONAL has no corner
on the embryo studio epics. "Rose of Washing-
ton Square," which we see next at Twentieth
Century-Fox, is almost as masterly an epic, even
though it needed no world-wide search to find
its talent.
Darryl Zanuck talked Al (Mammy) Jolson
into running through his old repertoire helped
out by Alice Faye and Tyrone Power.
They're all one happy family, on the big night
club set we visit, with Alice, perched on a piano
d la Helen Morgan, pretending to sing "I'll See
You In My Dreams."
It's just one of twenty-seven old time tunes,
like "Ja-da," "April Showers," "Mammy," and
such, that brighten this reminiscent screen play
for the customers who remember when. Even
Ty Power gives out with "The Curse of an Ach-
ing Heart," we're told.
Like "Alexander's Ragtime Band," "Rose of
Washington Square" loud pedals the music and
soft pedals the plot. Alice plays a night-club
singer who marries a shady sharper, Tyrone
Power, to reform him, thus gathering to herself
a mess of headaches. We wouldn't be a bit sur-
prised if the career of Fannie Brice inspired the
story.
Outside, we run into Al Jolson, pacing nerv-
ously up and down. It's his first day on his first
picture in about three years. He's as nervous as
a witch " — and scared too!" Al tells us. "I'd
give ten thousand dollars not to go through
with this — but I said I would, so — gee — I
wish Ruby was here!" The poor guy is still
groaning when we leave — can you beat it?
After all these years and still scared of a
camera!
WE'RE going to picket Twentieth if they don't
get shorter titles. After "Rose of Washington
Square" what should we run into but "The Life
of Alexander Graham Bell" or "Alexander's
Ragtime Bell" as the boys at TC-F are calling
it. Frankly, we suggest "Four Daughters," be-
cause, besides the ubiquitous Don Ameche and
Henry Fonda, it's a sister act. Loretta Young,
Polly Ann Young, Sally Blane (Young) and
Georgianna Belzer (Young), Loretta's thirteen
year old half-sister — or did you know she had
one?
The four sisters are using the same dressing
room and you can imagine the feminine fuss and
chatter that shakes its frail walls. Loretta and
the sisterhood play the Hubbard sisters who
actually existed. The drama of Bell, the chap to
thank for your telephone today, is wound up
with them. In fact, everything in this picture,
dates and actual happenings, is right out of his-
tory. All, that is, except Don Ameche's smooth
cheeks. Alexander Graham fancied sideburns
of the broccoli type but Don said he'd rather
be less authentic and more beautiful!
The big drama of this movie centers around
the telegraph company's attempt to rob A.G.B.
of his telephone invention; that and the court
battle in which Loretta goes into court with a
blessed event halo around her head — a thing un-
heard of in those prudish days — to show Bell's
early telephone plans on the back of a love letter.
The day we arrive, however, Don Ameche
and Henry Fonda have the spotlight in the
scene where the telephone first works. It really
happened just as we see it now. Don is in one
room of a boardinghouse set. Henry Fonda is
in the other. The primitive phone, borrowed
from the Smithsonian Institute, is rigged up be-
tween. But it won't work.
Then Don, rising in disgust, knocks over a
bottle of sulphuric acid and it starts to eat up
his pants. "Mr. Watson," (that's Hank Fonda)
he yells. "Come here — I want you!"
And those were the first words ever heard
over a telephone wire.
Next door, we find Shirley Temple. This time
she's "Susannah of the Mounties," a waif, win-
ning the hearts of bluff Randy Scott and J.
(Continued on page 88)
65
/■>
wilt It*
n^>C7
BY NINA WILCOX PUTNAM
The story thus jar:
WHEN Marie La Tour, star of silent
pictures, discovered that she was al-
most penniless, she hit on the idea
of launching Betty, her orphan granddaughter,
on a Hollywood career. This career hit its first
snag when Marie discovered that it was Benny
Rossman, an enemy of long standing, who was
now in charge of Goldmont Studio, the home of
her past successes. Betty, however, on her
own, met Christie Beall, a young director at
Goldmont, and he cast her for a minor role in
the picture, "Bringing Up Mother."
On the first day of shooting, Chris, who had
been aware of Marie's identity all along, asked
her to be on the set to give Betty confidence.
Since Rossman, Marie's enemy, was out of
town, she agreed to do so. Chris asked Marie
to run through Betty's scenes for her. He shot
them "just for a gag" — or so he told Marie.
At the studio preview of the picture, the
audience reaction was lukewarm to Betty's
performance, but when Beall's second version,
with Marie in Betty's part, was run off, her
performance rolled 'cm in the aisles.
Betty accused her grandmother of double-
inn her and ran away from home,
bout this time, old Jelliff. cx-hoofer and
a close friend of Marie's, arrived in California
from New York. Marie told him about Betty
and also about her dire financial state. Even
the success of Mario's pari in "Bringing Up
Mother" amounted to nothing when Rossman
returned, had the picture run off, and saw
Marie in the part. He not only refused to let
out this version of the picture, but also fired
the young director. Chris Beall, telling him he
could take the cans of film. He never wanted
to see him — or them — again.
Meanwhile, Marie discovered that Betty was
staying at Lydia Watts' home. Lydia was an
ex-star of burlesque and another enemy of
Marie's. Marie went to Lydia's to beg Betty
to return. It was on that same day that Jelliff,
job hunting, was run down by an automobile.
When the news reached Marie at Lydia's, Betty,
in swift sympathy for her grandmother, said:
"This is no time for us to nurse our fight, Gram.
Let's forget it and get on home to Jelliff."
Now continue this story:
NOT since the days when a swing rendezvous
meant a date in a hammock have I hurried
home with my heart in my mouth like I did
after JellifT's accident. We went in Betty's lit-
tle car, she driving through the rain and sev-
eral traffic lights in silence.
But though Goodness knows Betty drove fast
enough, my mind was racing way ahead of that
automobile. Every mean thing I had ever said
or done to Jelliff seemed to rise right up out of
the road and hit me like mud splashes.
Sometimes, in the last few years, I had kind
of thought Jelliff was in the way. But now that
there was a chance of his being removed, I
knew I couldn't any more get along without
him than I could get along without exercise or
my make-up, or saying my prayers at night.
Jelliff had come to be a part of my routine and
I couldn't go into it without him. And what
was even more upsetting. I at last admitted to
myself that everybody has to be fond of some-
one, and while I was, of course, deeply fond of
Betty, she didn't wear pants. After all, the poet
says, "As pants the weary heart, etc." and there
is nothing like a strong man's love or a weak
Trouble with a masquerade is that
it must end and there was Marie
about to set the world to rights
just when the clock struck twelve
man's love, for that matter, to make a woman's
life worth living even if it, at the same time,
makes her perfectly miserable.
Well anyways, all this went through my head
before I and Betty finally got back to our nine
hundred block in Beverly Hills. Amandabell
met us at the door, her usually black face about
the color of a shoe that needs shining badly.
"M's Marie," she says, "what's a Judas-
horned-betailment? Mr. Jack, he claim Ah'm
it!"
Relief flooded me like I was a Federal agency
or something. If Jelliff was cussing he wasn't
dead yet! But he was bad enough off at that.
Two cracked ribs and his knee thrown out.
The doctor said he'd be laid up for weeks.
"The old Charley hoss ain't what it used to
be," Jelliff managed to smile at me when the
medico had gone. "I guess Paramount's suf-
fered the loss of a fine character man, but. . . ."
"Jelliff," I says, kneeling beside the bed and
putting my hands over his. "Dear Jelliff, if
you'd been killed I'd have done it! I'll never
forgive myself, letting you go out to look for a
job. . . ."
"It was a good idea," he says, trying to make
light of it even though his eyes showed his pain.
"When the insurance money comes in, it'll be
more than I'd have got for a few days' extra
work!" Then he caught sight of Betty, peering
anxiously over my shoulder. I was kind of
afraid of what he might say to her, but for mce
he did just exactly right.
"It's a good thing you're here," he says. "We
need you Betty. Marie can open cans as, fine
as anybody, but. . . ."
"Oh, Uncle Jack," says Betty. "Thanks. for
not saying what's coming to me. I'm so dread-
fully sorry you're hurt! I — I — well, I guess I'd
say it with chicken soup!" And with
that she kissed him and ran for the kitchen like
she always did when her emotions got the bet-
ter of her.
IT was some hours later, with Jelliff asleep and
Betty locked in her room, before I got a chance
to sit down and check up on where I stood and
on what. We had to have money. The only
way to get it that I could think of was some-
body going to work. And without any primary
or ballot-stuffing, it seemed I was elected.
"I like doing this just like I love poison ivy,"
I told myself, "but as the poet says, 'Only the
brave can earn the fare!'" Then I went to the
phone and called up Chris.
At first all he could talk about was Betty and
the fact that he hadn't been able to see her.
But finally when he run out of words, I got one
in. edgewise.
"Chris," I says, "do you still think your
Mr. Reis, whom you told me about at Liberty
THE STORY OF A GREAT STAR'S COMEBACK
C E
Productions, might be hypnotized into giving
me a job?"
"Hurrah," says Chris. "Have you actually
come to your senses?
"No," I says, "I guess I've lost what little
sense I ever had. But there are reasons why
I am now willing to be a typical woman and
change my mind."
"Good Old Marie," he shouts into the phone.
"We are going to put this thing over, and do it
right!"
"I hope so," I says, "but Chris, I'm frankly
scared Reis will know too much about me.
I've never met him, but I've been snubbed by
Liberty Studios just the same."
"Nonsense," says Chris. "That's a big lot —
"I hate you," says Betty, "and as
•for the pie, well . . ." And before
anybody but herself knew it, she had
picked up the lemon meringue pie
and flung it full into Chris' face
illustration by
McClelland Barclay
everybody doesn't know what goes on."
"Well," I says, "I suppose a motion-picture
executive's right hand doesn't always know
what his other hands are doing!" Chris laughed.
"That's right," he agrees. "And now, how
about our talking things over before he actu-
ally meets you?"
"Okay by me," I says meekly, "but you'd
better say something to Betty to prepare her.
Frankly, I haven't the courage!"
"Betty may as well find out I don't intend
to have my wife in pictures," says Chris, "and
tomorrow is as good a time as any. I'll see
Reis tonight if I have to trail him all the way
from the Troc to Wethiemers. Meanwhile just
pick yourself four nice stars out of this glorious
sky, Marie, because you'll be hanging 'em on
your next picture!"
It's nice to have somebody feel that way
about you, especially when you are looking at
the world through a permanent pair of anti-
sunglasses.
It kind of pulled me together, what Chris had
said, so I went upstairs and says my prayers,
asking God to please not have Betty too sore
at me for getting a contract in case I got it, but
to, for Heaven's sake, get me the contract in
any event on account of we needed it so badly.
After which I fell straight asleep as only a per-
son can who has attended to every possible
detail.
Well, anyways, the next morning I was just
about through getting Jelliff fixed vip for the
day when in breezed Chris. California doors
have no locks to friends and hearing my voice,
he had let himself into the ground floor bed-
room where Jelliff was parked.
"Hello, what's this?" Chris says. "I didn't
know you had a love nest, Marie. Or is it just
a touch of nepotism?"
"He's not my nephew," I says indignantly,
"nor is this either a love nest or a mare's ditto!
Meet Mr. Jelliff!"
"I'm her manager," says Jelliff, glaring
feebly. "I came out here to see that Marie got
a man's protection, but. . . ."
"This is Betty's boy friend," I explained to
JellilT. Jelliff looked relieved and shook hands
with Chris.
"Boy friend," Jelliff says. "Does Betty know
it?"
"There are lots of things a person knows that
they won't acknowledge," says Chris. "That's
my rating with Betty right now. But we hope
for the best."
Then when Chris and I were alone in the liv-
ing room he took me by the shoulders and
shook me, only half playfully.
"What er ya mean, manager?" he says. "I
breathe the ghost of a word — 'contract' to be
exact — and you go Hollywood on me and pull
a manager out of your hat! What's the idea?"
For a moment I didn't know what to say be-
cause I didn't want either Chris or Jelliff to
think I would pull anything tricky.
"I'll tell you what," I says. "Jelliff is a very
old friend. He was hurt yesterday, but hurt
worse many years ago. As a matter of fact, he
has done some business for us now and then
ever since his first accident." Chris give me a
penetrating look and the mad went out of his
eyes.
"Which I'll bet makes it easier for him to take
a little money from you now and then," he says
shrewdly. But I wouldn't admit a thing.
"He's done the work," I says shortly, "and
some smart work at that!" How true those last
words were I did not realize at the time, but as
the world now knows, I had reason to remem-
ber them later. Well anyways, Chris having
got rid of his daily Hollywood suspicion which
it's the truth that everybody out there is sub-
ject to such spells, why we sat down amiably.
"Reis is coming for cocktails tomorrow," he
told me. "I caught him when he was winning
at Twenty-one and he made the date. I told
him you would expect to see him in a top hat
and cutaway and he swallowed it — he's just
that kind of pretentious lowbrow."
"Well, many a lowbrow is hidden under a
high hat," I says. "What else?"
"Be hard to get," he instructed me. "You
don't have to work, see? You don't care for
dough. You're a great lady and a big name —
this idea of a contract means nothing to you."
"I know that line," I says worried, "but sup-
pose he believes me?"
"Nobody in the world would believe you,"
Chris declared, "not even a producer. But we
hope he'll believe the house!"
"Has Reis seen that footage of me?" I asked.
"No," says Chris. "I wanted him to get the
setup here first. That's a scrub woman se-
quence, Marie, and Reis is the kind who thinks
that stuff ought to come cheap. But once he
has you and your house to contrast with the
film, it will hit him all the harder. All you
(Continued on page 17)
67
V
■
The cast and crew of "Pygmalion," Shaw's
first play screened for American audiences
Producer Gabriel Pascal
At last it's open — the treasure
chest of G.B.S/s plays. Here's
the reason he changed his mind
HOW SHAW
BY WILBUR MORSE, JR.
H
|0\V are you fixed for money?"
The bushy eyebrows above the pink
face of the patriarchal bearded little
man formed a question mark as George Ber-
nard Shaw cut short his visitor's harangue on
the art of the cinema.
"I've got fifteen shillings, six pence in my
pocket and I owe a pound." answered the
swarthy Hungarian who, a minute before, had
talking of film production in terms that
would take hundreds of thousands of dollars
to translate.
Shaw- -the cynic, the iconoclast, the greatest
living playwright in the world, who for years
bad been refusing to open his treasure chest of
entertainment to Hollywood's purse — burst into
.tcr.
rally millions had been waved before him
as bait for bis consent to the filming of his plays.
Producer after producer, backed by the unlim-
ited capital and vast releasing outlets of
companies, had sought the screen rights to
Shavian successes. One after another he had
turned them down because he doubted their
ability to transcribe his work intact. And now
this Hungarian fellow, with his tempestuous
talk of honesty in art, his high-sounding prom-
ises not to compromise with movie conventions,
had almost convinced him. And the man was
fiat broke!
"But this is delicious," chuckled Shaw. The
effrontery of the man was as appealing as his
flattery that the playwright's work was essen-
tially entertainment for the masses and should
not be restricted to the intellectual few of the
theater.
I [i re's a pound to pay your debt," said Shaw,
reaching into his habitually unpressed trousers.
'"Now get on with it. What are your plans?"
In such a way did Gabriel Pascal, cx-farmcr,
ex-cavalry officer and itinerant producer of
European films, secure the moving-picture rights
to "Pygmalion" and finally introduce to the
screen its number one holdout, George Bernard
Shaw. Pascal secured not only the rights to
"Pygmalion" but the rights to the rest of the
rich store of stories of that brilliant, brittle Brit-
isher who, for almost half a century, has been
turning out the world's most discussed plays.
Pascal told of his coup a few weeks ago while
in New York en route from London to Holly-
wood to negotiate for a cast and a cameraman
to take back to England for his second Shaw
production, "The Doctor's Dilemma."
"Pygmalion," starring Leslie Howard and an
enchanting newcomer to the screen, Wendy
Hillcr, was in its ninth sellout week in one of
London's largest cinema palaces and had just
opened its first week on Broadway to packed
houses at the Astor.
Exhibitors were tumbling over one another in
the scramble for first-run rights throughout the
country and Pascal was being proclaimed an-
other Korda, a genius whose production chal-
lenged the best in Hollywood.
But to Pascal, as he sat in a corner of the
New York Athletic Club and told of his triumph,
it was not the acclaim of the press for his pro-
duction, or the envy of other producers at his
corralling of Shaw's plays that was now high-
lighted in his thoughts. It was the generosity and
(Continued on page 72)
68
Soft, smooth skin wins
Romance-clever girls use
Lux Toilet Soap
When a man's in love, his eyes look close
— would note the tiniest flaw. So don't risk
unattractive Cosmetic Skin ! It's not removing
stale cosmetics thoroughly that causes this
unattractive complexion trouble — dullness,
tiny blemishes, enlarged pores. Use all the
cosmetics you wish, but use Lux Toilet Soap's
ACTIVE lather before you renew make-up —
ALWAYS before you go to bed.
USE COSMETICS,
BUT I'M CAREFUL
ABOUT COSMETIC
Skin, i always
REMOVE STALE
ROUGE AND POWDER
THOROUGHLY WITH
Lux Toilet Soap
9 out of 10 Hollywood
* v ^
ood Screen Stars us
■efre
STAR OF
PARAMOUNT'S
"MIDNIGHT"
use Lux Toilet Soap
MAY, 1939
69
BY GWENN WALTERS
THE problen .ng our fashion souls
late sprii never troubled the
belle of the late Nineteenth Century, for
-i bustle or a hobble skirt according
bion dictates. But today- -with every sil-
the Empire period through the
er being promoted by some Eaahionist —
what are we to d
Fortunately. ■ visit to Orry-Kelly at Warner
Broth. only settled the silhouette prob-
lem but gave us a bird's-eye view of the coming
one stj le has been formu-
lated, revived or given impetus by this man
who helps to fashion honors every woman he
r the screen. He was designer for
Francis during the yean her name ap-
peared on every "best -dressed woman" list in
the United States. Now what he and Bette
doing to the fashion picture is a cau-
tion. With the release of "Jezebel," they started
every girl in the country thinking about hoop
skirts and soon their revival was a reality. Then
along came "The Sisters." Bette wore Orry-
Kelly s clothes again and again they scored a
bull's-eye by launching the Gibson Girl modes.
"It's in your hat," said the designer without
ado when I asked him to clarify the picture.
"Your accent, I mean. It must be very gay and
on the romantic side. Gone for this season, at
least, is that "pimple-on-a-pumpkin" look. Be-
cause most hats are swathed in veiling, there
isn't a chance for hard headlines. Many little
hats will be completely covered with flowers
and topped off by veiling, but the very newest
looking hats for summer are veiled mannish
sailors of starched white pique."
Considering that veiling has been in fashion
for several seasons, it looks amazingly new this
summer. The explanation is in the way it is
put on the hat. In the case of a pique sailor
being done for Fay Bainter in the Warner
Brothers' workroom, a yard of wide navy veil-
ing was attached to each side of the brim. The
long drapes could be worn tied in back to form
a snood, brought up over hat and face, auralike,
drawn into a crisp bow under the chin, wound
about the neck, or looped around the face, wim-
ple-fashion.
These veiled hats are really designed for short
haircuts and would present an overdone ap-
pearance with shoulder-length bobs. That
brings Orry-Kelly to his prediction that by fall
every girl with long locks will be definitely
declassee. They've had their day and must go
the way of the scissors. Bette Davis is the first
important star to go in for a "baby bob." It is
as short as an old-time wind-blown, but is more
carefully dressed, for curls are brushed upward
in the manner of winter's upswept coiffures.
Bette made her first public appearance with her
shorter locks at the Academy banquet (See page
hen she was presented for the second time
with the best-actress award. We could hear
dozens of women on the spot vowing to be shorn
on the morrow.
TOR some time prior to this summer, we have
had mad little hats in vogue that frankly
Screamed for attention. Dresses which followed
many different lines had points of interest in
glitter and embroidery; costume jewelry was
often loaded on with a lavish hand; and along
with each ensemble went novelty belts, buttons,
rid shoes. There were too many
things in a single outfit for the eye to catch All
the drama of a costume was lost.
ill tail has now been traded for fine dress-
making touches and superlative tailoring. Over-
matching is missing from the accessory picture.
Fine leather and good workmanship has become
Orry-Kelly, famous fashion designer
for Warner Brothers, poses with
Bette Davis who is wearing a hoop-
skirted costume which he created
for her to wear in "The Old Maid."
Bette is fast becoming one of
Hollywood's best-dressed stars,
aided and abetted by Orry-Kelly,
who Is responsible for many of
the gowns from her personal ward-
robe. Read his bird's-eye view
of the early summer fashion pic-
ture in the fashion letter below
s
FASHION LETTER
more important than novelty in shoes, bags and
gloves.
Orry-Kelly refuses to agree with the Holly-
wood designers who maintain almost anything
still goes in this summer's silhouette. From the
welter of past fashions and those that have been
introduced in the last few months he foresees
the emergence of one dominant silhouette un-
der that far from plain but becoming hat. It
has the feeling of a lady in a Renoir painting.
Characterized by simplicity, the newest note
about that silhouette is the bustle. This inter-
esting revival will be merely suggesed in day
clothes through the use of concentrated back
fullness, but in evening will take the form of
loops, bows, ruffles and 'flowers. The padded
bustle or the unwieldy "dress-improver" (which
made a tent of the back of the skirt in the
1880's) will not enter the summer picture.
Although there is merely a bustle-feeling
right now, we fully expect to see it ripen into
a full-fledged fashion when Bette Davis appears
on the screen in "The Old Maid." She wears
hoop skirts with charming little shirtwaist tops
in the early part of the picture, but when twenty
years elapse the story carries on into the bustle
period.
NATURALLY, accompanying the 1939 version
of the bustle will be straight, slim lines. Further
than that, be prepared for a snug bodice with
shoulder accents and long, fitted sleeves.
Shirtwaist dresses will thrive by day and
night, as will the less intricately draped styles.
Sleeves will be more generally used in dinner
and evening dress than they have been for a
decade, but will be most heartily approved in
transparent fabrics.
Little linen and cotton jackets will accompany
(Continued on page 93)
70
Turnlfour BEST Face Toward J^^/i^r
-THE WAY SOCIETY FAVORITES DO!
.#
FT i JJLJ
^9
>
April in Paris — An American countess stops to buy
a fragrant bouquet. Thinking of sparkling complex-
ions, the Countess de la Falaise says: "Pond's
is my choice. I use it to help keep my skin soft
and smooth— glowing!"
Spring in the Garden is fun for Miss
Sally Anne Chapman/ Philadelphia
deb. Skin care is no problem to her.
"It's so simple to cleanse and freshen
my skin — with Pond's."
Bevy of Bridesmaids — Marjorie Fairchild's
attendants are carefree! Jean Stark (extreme
left) is quick to grasp the new smart skin care.
"The 'skin-vitamin' is necessary to skin health.
It is thrilling to have it in Pond's."
Spring House Party at the University of Virginia. Miss Lucy Armistead Flippin, charming southern
selle, takes "time out" between dances to capture the magic of the night! "Pond's is traditionally famous.
It was a natural choice for me. I use it to soften my skin so make-up looks glamorous!"
Vitamin A, the "skin-vitamin," is nec-
essary to skin health. Skin that lacks
this vitamin becomes rough and dry.
But when "skin-vitamin" is restored,
it helps make skin soft again. Scientists
found that this vitamin, applied to the
skin, healed wounds and burns quicker.
Now this "skin-vitamin" is in every jar
of Pond's Cold Cream! Use Pond's
night and morning and before make-up.
Same jars, labels, prices.
* Statements concerning the effects of the "skin-vitamin" applied to the skill art- based upon medical literature and tc*ts on the skin of animals foUoxing an accepted laboratory method.
.-•. 1939. Poad'i Extract Compaajr
AY
939
71
.
THERE'S
IN THE AIR
It's Spring's newest fashion note and the
theme of all Evening in Paris aids to Beauty
True loveliness begins with your
bath ... A tablespoonful of
Evening in Paris Bubbling Bath
Essence makes millions of fragrant
bubbles caress you, leaving your
skin tenderly perfumed, $1.00.
Follow with Evening in Paris
Bath Powder, $1.10, or Evening
in Paris Talcum Powder, 55c.
Repeat the romantic fragrance of
Evening in Paris in your Face
Powder, S1.10 . . . New colors in
Evening in Pans Rouge, 55c, Lip-
stick, 55c and $ 1 .00 and new Nail
Polish at 25c, afford smart possi-
bilities in harmonized make-up.
Finally, touch Evening in Paris
Perfume, "the fragrance of ro-
mance," to your lips, hair and ear
lobes. Purse flacon, 55c, other
sizes $1.10 to $10.00 . . . Evening
in Paris Eau de Cologne is dainty
and refreshing, 40c to $2.00.
BOURJOIS
P t I f V M I I I
How Shaw Gave In!
(Continued from page 68)
simple trust of a friendly barber in
London who had made possible his mo-
mentous interview with Shaw.
"I had come over from Amsterdam
to London by freighter." recounted
Pascal in thickly accented English, in-
tensified by compelling gestures. "I
arrived broke, hungry and in need of a
haircut.
"Near the Ritz-Carlton was the little
shop of a barber whom I used to tip
pound notes when he came to my hotel
to shave me in the days when I was
making much money as a producer.
"I went to his place and had a shave
and a haircut. He soon gathered that
I was out of funds and, while I was still
in the chair, he went over to the
cashier's desk and took a pound note
from the register.
" 'Let me help,' he urged. 'You have
done me many a kindness.'
"With that borrowed pound I sud-
denly seemed to have acquired a new
front. I went on to the Ritz-Carlton,
engaged a room on credit, went down-
stairs and had my first full meal in sev-
eral days and, fortified in body and
high in spirits, set out to call on Mr.
Shaw.
"As I started out, I felt very sure of
myself, certain that I would not fail.
For years I had believed that Shaw was
the greatest playwright of our times and
now I was certain I could convince him
that his plays should be filmed.
"How did I persuade him? How did
I get him to capitulate when others had
failed?
"I used no arguments. I talked dra-
matic art with him. I told him what I
wanted to do. Other producers had
waved checks at him. I spoke his spirit.
My modern, spiritual, romantic way was
not the dry stuffy way of the others.
"You see," said the dynamic Hun-
garian, whose ego Shaw must surely
have recognized as being as great as his
own, "I have no inferiority complex be-
fore geniuses or kings or anybody. I
said that I would make no picture with
box-office compromises. And I think the
old gentleman believed in my love of art.
That's all. There was no mystery to it."
No mystery, perhaps, but a happy
combination of great enthusiasm and
. . . that barber's pound. For somehow
one feels that it was that appealing pic-
ture of a man with fifteen shillings in
his pocket, spouting production plans
that would involve a fortune, that finally
won Shaw.
"I had wanted to do "The Devil's Dis-
ciple' first," continued Pascal. "That
play had revolutionized our minds when
I was a student and I believe there is
a great message in it. I told Shaw that
for years my dream -had been to make
The Devil's Disciple' and I told him
how I proposed to make it. But the
old gentleman said no. 'No, first we
will make "Pygmalion." It is more pop-
ular. "The Devil's Disciple," if we gave
it to them first, might frighten them.
It is too dangerous to attack the masses
with such red meat. Let us give them
first the real entertainment, then later
"The Devil's Disciple." '
It is now Pascal's plan to make "The
Devil's Disciple" third on his list of
Shaw hits. It will follow "The Doctor's
Dilemma," and for the leading role in
this famous play of the days of the
American Revolution, Metro-Goldwyn-
Mayer (who are releasing Pascal's pro-
ductions) have promised to loan him
Clark Gable.
"When I make 'The Devil's Disciple'
I will make it a real American picture,"
promises Pascal. "Just as 'Pygmalion'
is a real English picture. If I must, I
will go to New England and live there
for a while and I won't go as a pro-
ducer. I'll go as a farmer."
Such a fervor for capturing the es-
sence of a play, for translating it au-
thentically to the screen, was another of
Pascal's appeals for Shaw, ever critical
of filmdom's handling of his works.
Some time ago Shaw, in refusing an
offer of Samuel Goldwyn to make pic-
ture versions of his plays, voiced his
chief criticism of Hollywood.
"The difficulty is," said the peppery
playwright, "that I haven't time to turn
my plays into scenarios and when I al-
low film firms to try their hands they
turn the job over to the bellboy in
whose view life is a continual going up
and down stairs, opening and shutting
doors.
"When the film producer wants a bit
of extra dialogue he does not dream of
asking me to supply it. He just sticks
a patch of his radiant Californian on
my classical English without perceiving
the least difference. He uses up all the
film he has time for on what I have
carefully left out and cuts out all I have
put in, to make room for it.
"Some of the people in the film indus-
try insist on interfering with the natu-
ral way of telling a story. They want
to cut into a sequence, which doesn't
need breaking up at all, with shots of a
bartender talking and things like that.
I won't allow that sort of thing. The
art of telling a story is really a knack
which you either have or don't have.
Very few people have it. I'm one of
them."
Pascal met this attitude of Shaw's by
persuading the author to write his own
scenario. Every line of dialogue in
"Pygmalion," the film, is Shaw's own,
including two scenes added to the script
of the play.
It is amusing to note that one of them
is a bathtub scene that out-De Milles
Cecil's own and perhaps exemplifies
what Shaw meant when he said recently
that "sex appeal has a perfectly legiti-
mate part in the fine arts dealing with
humanity. I believe the good being done
by films associating sex appeal with
beauty and cleanliness is incalculable."
WlTH a script by Shaw himself and the
long sought-after release of film rights
to Shaw plays, Pascal had little difficulty
in finding immediate financial backing
for his venture in London.
"The first ten thousand pounds I se-
cured," said Pascal, "went to Shaw, who
immediately turned it right back into
the production and took a share in the
profits. Then I signed Leslie Howard to
co-direct and play the part of Higgins
in the film. He, too, took a share of the
production in lieu of a large salary."
The all important role of Eliza Doo-
Uttle, the bedraggled cockney flower
girl who is transformed into a great
lady on the whim and wager of a
phonetics expert, was more difficult to
fill. Finally Shaw himself suggested
Wendy Hillcr, who had played the part
in a provincial revival of the play; thus
a new screen star was born. Pascal has
the talented English girl under a five-
year contract and plans to feature her
in "The Doctor's Dilemma."
Copying the technique of the late
Irving Thalberg, the one man in Ameri-
can production to whom he doffs his
hat, Pascal cast even the most unim-
portant minor role with as much care
as if it were the lead.
"I hired the very best actors in Lon-
72
PHOTOPLAY
m even for extra roles," the producer
jclared. "I paid some of England's
■eatest theatrical names only two
ninds a day.
" 'All right,' I told them, 'it is an honor
r you to be an extra in a Shaw pic-
ire.' One of the finest actors on the
iglish stage speaks one monosyllable
one scene. He says 'Ah.'
"For two weeks we rehearsed the
hole script before turning a camera.
e rehearsed every scene, every cam-
a angle and drilled every actor to let-
r perfection in his lines. Then, when
e went on the set, we had only to con-
ntrate on finesse, on execution.
"Not a single line of Shaw's was
tanged. At no time did I compromise
ith movie conventions. I knew that
le can't translate George Bernard
law, or any genius, to the screen if
iu make compromises. It is like mix-
g water in your wine."
ITH the exception of a visit to the
adio the first day of production to see
e impressive sets representing St.
mi's Cathedral and Covent Garden,
law, who might have been expected
have nervously hovered about like
bird guarding its eggs in a nest,
jyed religiously away from the com-
ny. "I do not propose to interfere in
e direction of this picture," he told
iscal, "since I cannot, at my age, do
myself."
On the one day he visited Pinewood,
lere "Pygmalion" was made, the
rightly old gentleman was asked by
iscal if he would speak a few words
ifore a sound camera for a reel to be
ed as a trailer for the film. Without
y preparation or rehearsal, the bearded
tie jester bounced onto a stage.
Drawing up a chair before the cam-
a, Shaw began:
"Oh, my Americans friends, how do
iu do? Now, since I've got you all
re, might I make a little speech?
ght! I will. Do you mind if I sit
wn? I am very old.
"Now, it's a delightful thing to sit
ire and to think that, although at this
anient I am sitting in London, I can
ik in this way to an American audi-
ce. Oh . . . stop a minute ... I
lite forgot to tell you who I am. I am
e author of the film that you are go-
g to see, but I'm also Bernard Shaw.
"Mind you, the Bernard Shaw. Your
wspapers are so full of me that you
List have heard about me. Now you've
en the animal. I hope you like it.
"You know, I've suffered a great deal
am America in this matter of motion
ctures. For years past you've been
ying to teach me how to make a film.
id I'm going to show you really how
should be done.
"One thing that you've never dreamed
doing is . . . when you want to know
»w to make a film . . . send for the
ithor. You'll never send for the au-
or. You'll send for an electrician
ben the light goes wrong. You'll send
r a photographic expert when the
mera goes wrong. But when the play
ies wrong, you send for anybody who
ippens to be about. Of course, I know
s not your fault. You're not in this
isiness.
"Well, that's the sort of thing that
ey've been giving me in America and
e result is . . . my plays have not
;en filmed.
"I can do a great deal more with them
on the screen than I can do on the stage.
I know all about the motion-picture
business and I'm going to teach you . . .
I mean, of course, the gentlemen who
make the films . . . I'm going to teach
them what a film really should be like.
"My friend, Mr. Gabriel Pascal, who
has made this production, has tried the
extraordinary experiment of putting a
play on the screen just as the author
wrote it and as he wanted it produced.
"If you agree with me when you see
this film of mine ... if you enjoy it,
very well. You'll show it in the usual
way by coming to see it, each of you,
about twenty times. And then, if you
do that, there will be other films. I'm
thinking of doing an American play that
I once wrote called 'The Devil's Dis-
ciple.' Probably another play of mine,
'Caesar and Cleopatra,' you may see on
the film.
"But the really good thing about it
is that when you have seen these on the
screen . . . and if you like them ... all
the American films will become much
more like my films. And that will be a
splendid thing for America, and it won't
be such a bad thing for me. Although,
as you know, I'm pretty near the oldest
writer here and I shan't have much en-
joyment of them.
"You'll have to make up your mind
that you'll lose me presently, and then,
heaven only knows what will become
of America. I have to educate all the
nations. I have to educate England.
Several of the Continental nations re-
quire a little education, but America
most of all. And I shall die before I've
educated America properly. But I'm
making a beginning.
"Now I think it's time for me to get
out of the way. I was asked to say
something to you. I'm always glad to
say something to you. I was asked to
say something very agreeable to you.
I've done my best. That's my aged idea
of an agreeable speech. But I'm quite
friendly. I think you've always heard
that about me. At any rate, it's been
written . . . you ought to."
I WO weeks after "Pygmalion" was fin-
ished and a superb score by the English
composer, Arthur Honegger, had been
transcribed into the film, Shaw and his
wife were invited by Pascal to a special
press preview of the picture in London.
Throughout the screening, Shaw sat
stiff and silent watching this first full-
length filming of one of his plays. Pas-
cal sat between the playwright and his
wife and, during the unreeling of the
film, Mrs. Shaw patted his hand and
reassured him that the production was
far superior to even its best stage per-
formance.
But it was Shaw whose opinion the
producer was eager to hear. For on his
approval hung the fate of future films
of his famous plays. That whole store-
house of screen entertainment must be
unlocked by this one effort.
As the lights went up in the projec-
tion room. Shaw turned to Pascal. "It's
all right, Gabriel," he said. "You have
done it. You may do all my plays."
Just then a newspaper reviewer ap-
proached Shaw with a question.
"Am I satisfied with the adaptation?"
echoed the cinema's severest critic.
"Am I satisfied? I'm delighted. I wrote
it myself!"
HOW WELL DO YOU KNOW YOUR HOLLYWOOD?
Check your answers to the statem
ents
on page 9 with these correct ones:
1. Tyrone Power 6. Edith Fellows
2. Gracie Allen in "The 7. Wayne Morris (Bubbles
Gracie Allen Murder Case" Schinasi, wife)
3. Bobby Breen 8. Frank Capra
4. Wallace Beery 9. Myrna Loy (Arthur
5. Alice Faye Hornblow, husband)
10. Hedy Lamarr
1 1. Dorothy Arzner
12. James Cagney
13. Dodge
14. Eugene Pallette
15. Arl i ne Judge
y?cce(fa£5 guard against
body odor with this
lovely perfumed soap!
THIS MIGHT BE
YOUR NIGHT!
SO, BEFORE THAT DATE,
BE SURE TO BATHE WITH
CASHMERE BOUQUET SOAP !
YOU RE THE LOVELIEST THING THAT
EVER CAME INTO MY LIFE ! SO SWEET.
SO COMPLETELY ADORABLE ! SHALL
WE MAKE IT A WEDDING, DARLING?
s
MEN FIND FRAGRANT SKIN SO
ALLURING! THAT'S WHY I BATHE WITH
THIS LOVELY PERFUMED SOAP. FOR
CASHMERE BOUQUET'S DEEP-CLEANSING
LATHER REMOVES EVERY TRACE OF BODY
ODOR... AND THEN ITS LINGERING
PERFUME CLINGS — LONG AFTER
YOUR BATH IT KEEPS YOU
FRAGRANTLY DAINTY
<* 9-
V
ITS TOO BAD ALL
"GIRLS DONT KNOW
ABOUT CASHMERE
BOUQUET SOAP— THE
LOVELIER WAY TO
GUARD AGAINST
BODY ODOR !
' USE uTE SOAP f<*
CR£*»v»"'!LN too!
lTSTl£^so^r
^Tco^cs so (
\f%Ts^
s
-*
^/U^
IO<-3for25<
of drug. deportment
and ttn-ctnt iloret
THE
lofiSiSiiS^iviTH the cosniali5!H^
d2
1AY
939
73
7 SECOND
M YSTE RY
STORY
Play Truth and Consequences with Fred Astaire
HOW DOES MARY STAY
SO RESTED? SHES
ALREADY DRIVEN OVER
400 MILES!''
19. (Q)
HERE'S HOW she does it. She
keeps a package of this famous
Beech-Nut peppermint gum in the
car. Great thing to relieve tension
in traffic, says she. ^
Beech -Nut
23. (Q)
(A)
24. (Q)
(A)
25. (Q)
(A)
Villi ih* Beech-Nut Building ol lh« New York
World'sFoir. II you drive, itopalCanajoharie,
in Ih* Mohawk Valley of New York, ond »••
how Beech-Nut product! or* mod*.
In what ways are you a fuss-
budget?
1 guess I'm kind of a fuss-
budget about neatness. For
example, I go around turning
ofT lights which aren't needed.
This isn't .in economy bug with
me became I do it even in my
studio dressing room and I
certainly don't have to pay any
part of tlie studio electricity
bill. But I like a certain or-
derliness and I sometimes even
go out of my way to go back
and turn off a forgotten light
just because the thought of its
still burning bothers me. In
contrast to this. I'm no stickler
for correct time pieces: I keep
my watches and clocks set ten
minutes ahead of time.
Do you pay a great deal of atten-
tion to clothes?
I dislike looking "dressed up";
I distinctly dislike "newness"
in clothes. I never wear a new
hat until I have battered it and
crushed it so that it looks well-
worn and comfortable. The
same with shoes, etc.
What idiosyncrasy of yours
throws your household into con-
sternation ?
Practicing golf in my bedroom.
Do you ever flare up?
Yes — but only at myself, as
when I bungle or "blow" a
scene. But I work off steam by
seeing the humorous side of
such ridiculous flare-ups.
In what surroundings do you feel
most at home?
I am never more in my ele-
ment than when following a
good golfer's game around the
course, or when I happen to be
swinging and hit "in the
groove" myself.
Do you take any special physical
care of yourself to counteract the
strain of your dancing?
No. But fortunately I like to
go to bed early and get up
early. Also I haven't a terrific
appetite and I have never
cared for smoking and drink-
ing. These things, I suppose,
help.
Which do you think was the best
dance you ever created?
Mr. Astaire took the conse-
quences. (Since you have a
phobia about posing with Mrs.
Astaire, and also without your
hat, do it for us anyway this
once.)
By what nicknames are you some-
times called?
There are a few friends of
mine who occasionally call me
"Hoofer" — if they smile when
they say that, it's all right with
me. Or if they don't smile,
that's all right, too.
Have you ever fallen,' or made an
obvious mistake, while dancing on
the stage, and how did you han-
dle it?
Adele and I had a trick end-
ing to one of our dances: after
a last whirl I was to swing her
to one side while I dropped to
one knee. On this occasion I
took my bow and wondered
why there was no applause
and such awful silence. Finally
it occurred to me to look at
Adele and there she was — not
where she was supposed to be
(Continued /rom page 21)
at all. but sprawled flat on the
In my frenzy to get off
the stage as quickly as possible
I made matters worse by fall-
ing over her on the way out.
The audience figured we were
hurt and not a soul laughed.
I felt it was the end of my
career, and even now still re-
member it with horror.
26. (9) Do you enjoy being waited on?
(A) No — with one exception. It's
true that I do rely on some-
one to take care of my pro-
fessional clothes, to hang up
my costumes when I get out
of them. This is because I
have always been used to a
"dresser" since early theater
days when changes were some-
times a matter of seconds.
27. (9) Do you use colognes, perfumes,
scented shaving soaps, etc.?
(A) No.
28. (9) Is it true that you hope someday
to do the life of Nijinsky on the
screen?
(A) No. I have been approached
about this matter, but I'm
afraid I would be biting off
more than I could chew. I
have had very little ballet
dancing and would certainly
hesitate about trying to por-
tray one of the world's great-
est.
29. (9) What subject most interested you
as a young boy?
(A) Baseball. I fancied myself as
a potentially great player.
That was before I took to golf.
30. (9) Do you have a pet cause or the-
ory about anything which you like
to defend in arguments?
(A) No, I don't get drawn into ar-
guments very easily, because I
refuse to discuss politics, re-
ligion, dancing, movies, etc.
There is only one subject on
which I can talk for hour after
hour — that's a certain sport
and I guess you know what
that is by now!
31. (9) Do you have any artistic inclina-
tions, aside from your dancing?
(A) I'm a very fancy doodler.
32. (9) How old do you think you look?
(A) Mr. Astaire took the conse-
quences. (Show us proof of
that tall fish story you told re-
cently on an RKO set — if you
can, and you weren't just
bragging.)
33. (9) Are you a good swimmer?
(A) For the first few lengths of the
pool, yes; but I'm no cham-
pion.
34. (9) What is one of your worst faults?
WHO ARE THE SOCIAL
LEADERS OF THE
YOUNG CINEMA SET?
Guaranteed to warm your
heart and tickle your funny-
bone — this battle for suprem-
acy among Hollywood's
YOUNG FRY
in June PHOTOPLAY
(A)
35. (9)
(A)
36. (9)
(A)
37. (9)
(A)
38. (9)
(A)
39. (9)
(A)
40. (9)
(A)
41. (9)
(A)
42. (9)
(A)
43. (9)
44.
(A)
(Q)
(A)
45
(9)
46
(A)
(0)
(A)
47
(9)
(A)
48
(9)
(A)
49
(0)
(A)
Taking my work so seriously,
I believe. I know that I some-
times make myself miserable
worrying about it. I get so
wrapped up in it that I prob-
ably give the impression of be-
ing in a daze, when I don't
mean to.
Are you really shy?
Not in personal contacts, not
at all ... but I must admit
that I do get uneasy when
obliged to meet and talk to
people in my professional ca-
pacity.
When have you ever felt so em-
barrassed that you wished the
floor would open up and swallow
you?
When I made my first screen
test.
What was the extent of your edu-
cation?
I'm still acquiring one.
What was your reaction when the
nurse at the hospital told you,
"It's a boy!"
Mr. Astaire took the conse-
quences. (Pose for a comical
picture.)
Is it true that there will be no
more Astaire-Rogers films?
"The Castles" is the last pic-
ture on my RKO contract and
I'm leaving now for a trip to
Europe. At present, I have no
definite picture commitments
and I do not wish to make any
until I return. But. if the op-
portunity and story present
themselves, Ginger and I will
certainly do more pictures to-
gether.
What is your reaction to the
swing craze?
I'm half a jitterbug myself.
How do you annoy your friends?
I'm afraid I'm a practical joker.
What honor were you ever
awarded which you feel you didn't
deserve?
When someone nominated me
as one of the ten best-dressed
men.
How much time a day do you
spend with your son?
HOURS!
Do you have your legs or feet
Insured and, if so, for how much?
I don't. The studio carries
insurance on all principals
while in production.
Could you have lived in another
era, which one would you have
chosen and why?
I like the present era.
What costume have you ever
worn to a fancy-dress ball?
One of John Gilbert's old Hun-
garian officer's uniforms.
What honor or compliment be-
stowed on you most pleased your
ego?
When a golf pro said that I
had a natural golf swing.
Who, when you were a boy, was
one of your great idols?
Vernon Castle. For that reason.
I have really enjoyed making
this last picture above all
others.
Who are some of your idols to-
day?
Gene Sarazen, Sam Sneed,
Jimmy Thompson, James Cag-
ney, Benny Goodman. Bing
Crosby. Gene Krupa. Joe Di
Maggio, Olin Dutra, Harry
Cooper and Mickey Rooney.
74
PHOTOPLAY
1ERLE OBERON. . . in Samuel Goldwyn's . . ."WUTHERING HEIGHTS
Hollywoods
ensational
Lipsti
fci
:ifel
IK9 £fl
.LVemember the name... it's Tru-Color Lipstick cteated
by Max Factor* Hollywood. It has four amazing features, and, V^ ^^L
in fact, is the most startling lip make-up discover)' in years... "^^^w
1. lifelike red of your lips POWDER... R0UGE...T.
2. non-dl~\ing, but indelible Created in color harmo- lifelike, rouge must be
3t> y. •„• i- ny shades to beautify the color harmony shade
. sate tor sensitive lips ,, r ' . .
J J l screen star types, Max for your type. This is
4. eliminates lipstick line Factor's Face Powder Hollywoodssecret...and
will be unusually flatter- you. like famous screen
For the thrill of perfect lip make-up, try this wonderful new ingtoyou.Satin-smooth, stars, will find the perfect
,. ., j . , r ,, t, ,„_. T. ., . clinging, it stays on per- shade for your type in
lipstick today. Ask for Max Factor s Tru-Color Lipstick. ..in fecdy for hours...*,. 00 Max Faaors Rouge.. 5c*
•new, alluring color harmony shades for every type... Si. 00.
V J 4^^^^ ~if Do yon know your correct color harmony in iiiiikr-np?
SW Jj M Whether you are blonde or brunette, brownette or redhead, there is
S W/M M «^"^ an individual color harmony in make-up that will do wonders for you.
^f JM^Gj^ "g'^^fijf^y NOTE COUPON FOR SPECIAL MAKE-LP TEST.
/ ^gjgg^| I* MaiVVoi" P0W*dVr. * 'rO*UG E* AND * LIPSTICK* m* VoUR COLO
•*■ HOLLYWOOD
NAME
STREET-
I CITY-
4AY, 1939
/
For feel h that
* * use
Cal
rovvd
ox rovvdei
I'ui a apringtime sparkle in the highlights of your smile.
Like a tip from Hollywood: Use Calox Tooth Powder — the modern,
pleasant-tasting dentifrice that protects the lovely smile of Juan
Blondell and scores of oilier screen star>. Calox— pure, safe, whole-
some, refreshing — is in daily use b)
millions throughout the world.
Important: To give teeth a bright
high polish without harm to precious
enamel ... to keep Calox always
mule, mi in \iial cleansing qualities
— five separate, tested ingredients
an- Mendel with prescription care
in tli*- laboratories of Mi Kesson &
Robbins, whose products have been
prescribed for 106 years.
• * *
< .ii,„l Housekeeping Bureau
approves Calox Tooth Powder, For teeth
that shine like the stars' get Colo* at am
drug counter today. Three convenient,
long-lasting sL
OopB 1088, McKiwondi RobbltM. Inc.
How a Candid Camera Expert Works
(Continued from page 48)
married couples who don't want to ap-
togethsr for personal reasons have
worked out a plan whereby they make
their public entrances several yards
apart.
"Claudette Colbert is married to Dr.
Joel Pressman," says Hymie, "and the
doctor is adverse to trading on his wife's
reputation. He had refused to pose for
pictures with her and at opening nights
he is always either five feet ahead or
behind her when she appears."
Hymie also acts as mediator between
the new cameramen who are getting
Hollywood as a beat and the stars. At
a party at the Little Club last year, one
of the newcomers was rough on Joan
Crawford. When he asked her to pose,
she said:
"Let me fix my hair; I'll be right
back."
The gentleman thought he was being
stood up. "Thank you too much," he
said bitterly.
Mr. Fink maintains that it spoiled
Miss Crawford's evening and he spent
some time with the new photographer
pointing out that Hollywood was differ-
ent and that the stars had to protect
themselves.
"I got it all ironed out," says Hymie.
"The fellow understands now."
On his All-America team of favorites,
Hymie picks (in addition to Joan Craw-
ford and Marlene Dietrich, both of
whom he is obviously in love with) Ben
Lyon, "the perfect host," John Gilbert,
"the sweetest guy that ever lived"; Ta-
lullah Bankhead, "a good scout"; Lilyan
Tashman, "the most gracious"; Connie
Bennett, "cold but kind"; and Kay
Francis, who "gives the best parties
now."
I HE addition of resorts where stars
congregate has made Hymie's job
harder, but his only extravagance is a
new car each year. He is a bachelor,
living with his sister, and the trips don't
bother him much.
Not only has Hymie ferretted out the
places where his people live but he
knows their peculiarities. Claudette
Colbert, for example, has a hard and a
soft side to her face; the soft side is all
you ever see in the films or still photo-
graphs. Tala Birell has a long nose
which must be looked out for. In the
case of Ginger Rogers it is also a nose.
With Marlene Dietrich the camera must
be kept high because of her chin. From
any other position it looks as if she has
a double chin, which is not only a lie
but an optical illusion. The three movie
sets an outside photographer positively
can't enter in Hollywood are those of
Mae West, Shirley Temple and Greta
Garbo. At M-G-M the studio supervises
all outside pictures and insists on devel-
oping the negatives.
Hymie has had some of his toughest
times with Katharine Hepburn, who is
a homely dame who photographs well.
La Hepburn got a bit fed up on Holly-
wood and pictures soon after arrival
and put a curse on the whole business.
Hymie had snapped her once at the
Trocadero eating a chicken leg and that
hadn't helped. He hadn't used it, but
he had showed it to her and she had
ascended. After that, he couldn't get
near her. This made it bad for busi-
because Hepburn was at the height
of her fame and his clients were bel-
lowing for pictures. So when Hymie
heard that George Cukor was throwing
a farewell party for Katy. he simply
went up and in. Upon sight of him,
Katy let out a yell: "Throw him off
the roof."
Whereupon, Mr. Fink sat down on the
floor and said:
"Go ahead and throw me off. but don't
overlook that the headlines will be as
large as if you threw somebody of im-
portance overboard."
This brought about a compromise and
led to conversation.
"When are you leaving for New
York?" asked Hymie.
"Thursday," said Katy.
So Hymie went out to the airport on
Wednesday and Miss Hepburn turned
up in due course.
"I could murder you," said she, de-
ciding that she was licked. "Well, come
on, take as many as you want and do a
good one for a change . . . and don't
tell a soul I'm going."
"The whele world knows you're go-
ing," said Hymie. "And, furthermore,
if you think I'm tough, wait till you hit
those New York photogs. They'll knock
you down and walk over you."
"I'll bet you $100 nobody gets a pic-
ture of me the whole trip!" cried Katy.
Which was the easiest money Mr.
Fink ever made because the New York
guys did exactly as he had predicted,
ran her through a gauntlet in which
they had her doing everything but
standing on her ear and kept her busy
just as long as they wanted her.
"She's a grand girl, though," says
Hymie. "She didn't forget the bet. I
got a check in a few weeks, which is
the only bet I was ever voluntarily paid
in my life."
ItIR. FINK has certain rules about
Hollywood:
a. Never sell a star a picture; give
them the negative if they can't live
without it. (George Jessel has hun-
dreds of prints made of any picture of
him.)
b. Be square with them; don't show
them up.
c. No candid shots; they can't be re-
touched.
d. Dress just as well as the guests;
a cameraman can have dignity, too.
e. Compromise.
The Great Hollywood Compromise of
1936 was in the case of Kay Francis,
who gave a nautical party at the Ven-
dome in which the restaurant was
turned into a schooner with bows fifty
feet high and with a gangplank on
which the guests slid into the midst of
the activity. Miss Francis first said
cameramen wouldn't be allowed. With
that Hymie went into action with his
compromise. It was decided that the
snapshotters could come in until eleven
o'clock and then leave promptly at the
stroke of the hour.
"It was all right," says Hymie. "A
good idea. We got what we were after
and when we left they could tear the
place down if it pleased them. What
could be fairer?"
Which is the Fink life in a nutshell.
He has been doing it so long, he can
start taking a picture of a star a block
away and be sure who it is.
"I don't have to see the face," says
Hymie. "I can tell by the walk, by the
way the dress hangs, by the feet, by
the bob of the head, the rhythm. They're
all different. They're all distinct per-
sonalities. That's what makes them
movie stars."
What makes Hymie Fink a good
Hollywood photographer, however, is
that if they happen to be possessed of
pigeon-toes, he takes a shot of the head.
You can always trust Hymie, says
Hollywood. Which is why he was the
first and will always be there.
76
PHOTOPLAY
Second Chance
(Continued from page 67)
have to do is keep calm and remember
that psychology and good cocktails are
the foundation of all progress in the
Industry."
He sat quiet a moment and then he
looked at me out of the corner of one
eye.
" 'Bringing Up Mother' sure got a
panning, didn't it?" he says. "Did you
:atch the sneak-preview?" The ques-
tion knocked me cold, and slid all the
self-confidence which he'd been build-
ing up clean out of me.
"No," I says, "but I saw something
worse. I saw myself in 'Lillie of the
Galley.' Chris, I was godawful!" To
my surprise, he jumped up and started
pacing the floor.
"You don't know what you're talking
about," he snapped, "and maybe I don't
;ither, but why are they having so
•nany of these revivals? Why are peo-
ple going to see you? It's not all
curiosity. It's because some of those
;arly show people had a slice of some-
:hing. A certain umph! And speaking
>f umph, where is my little shooting
star?"
"Where do you suppose?" I says. "In
:he kitchen, of course!" Before I got
:he words out of my mouth. Chris was
Allowing his nose and the perfume of
emon curd out of the room.
rlf ELL, naturally, I would never have
cnown exactly what went on in the
dtchen during the next few moments,
;xcept for the accident of finding my
race near the half-open back door and
:orgetting to remove it. As the poet
»ays, "The end justifies being mean,"
md the only end I had in view was
3etty's happiness. So I was mean
mough to peek and see if she was get-
:ing it. But she wasn't.
"Beautiful," says Chris, strolling up
:o where Betty was topping off a lemon
neringue pie, "the only trouble with
:his picture is the set. It ought to be
hi/ kitchen. When can we make the
nove?" Betty looked at him real cold,
ler chin in the air.
"If that is an offer of a job," she says,
'I'm not taking any more jobs from
jovl. I was burned once!"
"But not on my stove," says Chris.
'I'll trade you a wedding ring for some
>f your coffee rings any day."
"Are you actually daring to propose
;o me?" says Betty loftily. "After the
jutrageous things you've done?"
"I certainly am," says Chris cheer-
fully. "I am offering you a home —
Home on the Kitchen Range — new ver-
sion cowboy chanty, beautiful! I am
a director without much direction and
i foggy future. But with you beside
me. . . ."
"You mean a long way ahead of you,"
says Betty. "I only wonder you don't
suggest casting me again. How many
limes do you expect me to be made a
Fool of?"
Chris got very serious then. "Never
again," he says. "When I put you in
that picture I let my heart get the
better of my instinct. It wasn't a
Friendly turn I did you. I should have
told you the truth the first day on the
set and married you the next."
"So the part was a come-on," she
says hotly.
"You know better." Chris was confi-
dent. "You know perfectly well that
we fell for each other that first night
before pictures even came into the con-
versation— which is an all-time record
for fast work in Hollywood."
"I didn't," she cried. "I hated you!
I only used you to get the job. You're
always so sure about everything that
I can't stand the sight of you!"
"You love me," says Chris.
"Get out," says Betty.
"If you'll come along," says Chris.
Betty's eyes were blazing. "I love
you, and boy, how I love your pie!"
"I hate you," says Betty, "and as for
the pie, well, you asked for it!" And
before anybody but herself knew it, she
had picked up the lemon meringue pie
and flung it full into Chris' face.
WELL, if I had of had false teeth I
would of swallowed them right then,
trying to keep from laughing, espe-
cially as Chris commenced to emerge
from the unexpected facial. And was
he mad? Not one bit! He merely
licked in as much of the pie as he
could and wiped the rest off with his
handkerchief.
"That, my dear," he says, "is exactly
why you won't do in pictures. Pie
throwing is dated. But the flavor is
excellent even if the service was a littlo
sudden. When we are married, we'll
get a waitress with plenty of self-
control."
For once Betty hadn't anything to
say. She just stood there a moment
staring at him. Then she burst into
tears and ran out of the kitchen. And
I ran out on the situation. I felt like I
just had to walk off the excitement of
seeing such a perfect husband going to
waste.
UN the other hand, however, while
Chris had given Betty a lot to think
over, he'd gone off without a word
about Mr. Reis. The pie had probably
put it out of his mind on account it is
undoubtedly hard to think clearly in a
fog of lemon curd. But the fact that
Mr. Reis was coming had to be broken
to Betty and just how to let her know
that I was the number he had in mind,
was harder to figure out than a mod-
ern painting.
In the end, I decided to try and keep
the entire business a secret from Betty
until it was over. But this gave rise to
further complications.
I was to serve cocktails and un-
escorted cocktails were out of the ques-
tion. In a mansion of the size of this
one I was presiding over for the mo-
ment (and, I might add, without the
owner's knowledge), cocktails had to
command a battalion of midget food-
stuffs and when it came to making
anchovies paste each other, why, I am
like china in a bull-pen, as the saying
goes. While with Betty, of course, all
she had to do was wave a dish a few
times and out would come a bunch of
dwarf appetizers fit to make a profes- [
sional chef jump on his cap with envy.
But to hire these things made cost
money. That was a problem! Of
course, my real No. 1 problem was how
to get Betty out of the house without
arousing her suspicions that I was up
to something. And I couldn't think of
a way on earth to do it, because noth-
ing is harder to do than fool a person
you live with everyday who is not your
husband. Then suddenly while brood-
ing over how to handle matters, I got
a hunch on the less important half of
my troubles and went into Jelliff's
room.
"Jelliff," I says, "how would you like
a nice big platter of cocktail eats for
your lunch tomorrow?"
"I hate 'em," he says, showing the
most life he had so far.
"But you're going to tell Betty that's
SHE OPENED
AN UNSIGNED LETTER!
AN UNSIGNED letter! A cowardly
-/~\- thing, perhaps— but for Nancy—
what a blessing! For in no other way
would Nancy have realized that under-
arm odor was spoiling all her other
charms— that she could easily be popu-
lar, with Mum!
It's hard for friends to speak to a
girl about a fault like underarm odor.
And yet it's easy to offend this way and
never know it— to think a daily bath
is enough for charm, when underarms
always need special care!
No smart girl trusts a bath alone to
keep her fresh and sweet. For a bath re-
moves only past perspiration— it can't
prevent odor. Mum can! Remember,
more women use Mum than any other
deodorant . . . more screen stars, more
nurses, more girls like you! It's so pleas-
ant, so easy to use, so dependable.
EASY! You can apply Mum in 30 sec-
onds, before or after you're dressed. And
even after underarm shaving, Mum ac-
tually soothes your skin!
SAFE I The Seal of the American Insti-
tute of Laundering is proof that Mum
is harmless to any kind of fabric.
SURE I Without stopping perspiration,
Mum stops all underarm odor for a full
day or evening. In friendships— in love
—complete daintiness is so all important
that it's foolish to take chances with your
charm. Get Mum at any druggist's today
—and use it daily. Then you'll always be
j//rr that you're sweet!
For Sanitary Napkins
First choice uith thou-
sands of women every-
where for Sanitary Nap-
kins, Mum wins because
it's so gentle and safe.
TAKES THE ODOR OUT OF PERSPIRATION
MAY, 1939
77
Piece Service foh 3 mMi proof §0950
King Bdwarct
Exquisite Silverplate
Successful entertaining starts right fere — with this
Buperb Bervice of Kinc Edward. You'll love its slender
lines and gracious pattern. You'll exult in its complete-
ness. Imagine the luxury of correct service for every
occasion, with every piece you'll ever need!
\ I -. Kim; V.dw \i;i> is a fitting accompaniment to your
finest damasks and china. Guests will praise it — but
never guess it cost so little. The complete service — 99
lovely pieces — is on display wherever fine silverplate
is sold, along with smaller services as low as $1 L50.
To let jron judge Kim; Ki>\\ ihd's beauty for yourself,
we've speciallj priced the Nul and Bonbon Server at
20c\ Ask your dealer for it, or mail the coupon today.
\ VI ION \L MIA II! COMPANY
TOR* • CHICAGO • Jo- INCELE3
udtil
• n<l J.I SO. larni.h
k ( • Do I I kc«B.n| '
unlimited 9ervic1
i.i iiumii
- \%i. 6] W . 2 Ird Sl N< m York, N. Y.
En<l ' (ward Nut and Bonbon Server (list price,7 54)
;ill you feel like eating," I says firmly.
"Don't say I suggested it, just ask her."
"I'll do pretty near anything for you,
says Jelliff, "but. . . ."
I will secretly slip you a schooner
of soup," I says, "and you will secretly
slip the hors d'oeuvres under the bed."
Then I told him the reason. Jelliff
grinned.
"As your manager," he says, "I agree
to the maneuver."
WELL, that was one step in the right
direction towards my zero hour, mean-
ing that I greatly feared that exactly
zero would come of my interview with
Heis. But I still had to get Betty out
of the house and when the next morn-
ing was as bright and fair as any claims
of the Chamber of Commerce, I began
hoping she would take a notion to go to
the beach. But no, she got a sudden
tidying-up fit, and went from room to
room, picking up this and straightening
out that, as busy as a hornet and about
as welcome. Then, after lunch, just as
I was about to break down and con-
fess, who of all people would come to
my rescue but Alex Lorm, the Adagio
dancer, a chap who'd had an eye on
Betty for some time, much to my dis-
gust.
I must say I didn't like it to be him,
nor did I like the way he got Betty
to go out with him. The thing which
made me uneasy, I overheard from the
turn on the stairs while he was talking
to Betty in the hall below, and I began
to think all I was ever told in that
house, was things which I was not sup-
posed to hear.
"Have you made up your mind yet?"
Lorm says in a funny sort of low tone.
"I'm getting pretty tired of waiting."
"It's such a big step," Betty says, also
real low. "I — I — hate to do it right
now."
"See here," says Lorm, "I didn't hesi-
tate to do a much bigger thing for you,
did I?
"Don't you feel any obligation about
that? Look at the risk I ran!"
"I know," says Betty, "and now I
wish I hadn't let you do it!"
"But it's done," he says persistently.
"Look here, we can get married if you
like. Lots of dancing partners do. But
you won't find many with a big original
act like mine. Swing Adagio! It's new,
it's different — it can't fail. The night
clubs all over the country will eat it
up!"
"And it is a possible way into pic-
tures," Betty agreed reluctantly.
"You're doing the telling," says Alex.
"Come on, let's get out of this and talk
where we won't be overheard. If we
stay here, first thing you know your
Grandma will be doing your Swing
Adagio act for Fanchon and Marco!"
With which he whipped Betty out of
the house.
mELL, a person can be so absolutely
boiling mad that they are frozen to the
spot and that was me for a moment.
What on earth kind of favor had Alex
done for Betty, I wondered? From his
-tone it sounded like murder, at the very
least. Whatever it was, the poor kid
evidently felt the boy had a hold on
her! And worse yet, she actually ap-
cl to be not only considering join-
ing him in that new style Adagio act
he'd been touting so long, but perhaps
marrying the second hand sweetheart!
Then all at once I remembered there
was nobody but me to put a stop to all
such outrageous nonsense and I imme-
diately ran down the stairs to the front
door meaning to stop them and give
them a piece of my mind.
But. by the time I got to the terrace,
the car was nowhere in sight and so
there was nothing left for me to do at
the moment except make peace with my
mind, instead, and go get ready to re-
ceive the great Motion Picture Mongrel.
Well, the living room certainly looked
like the lap of luxury when I got
through with it, what with lots of flow-
ers from the garden, and the drinks
set out and Betty's beautiful fancy
snacks which I only had to blow a little
dust off of.
I chose a throne-like chair for
myself and beside it I laid a good
book. At least I judged it was a good
book because with a binding like that
it must of cost at least five bucks. After
which I fixed Jelliff's door open a
crack so's he could be ready with a
man's protection. Then I sat down to
wait in all the refined charm of black
satin, pearls and my blue-white hair.
Well, anybody who has ever given a
party or waited in a doctor's office or
for a long distance phone call will
agree with me that Hell is probably
made up of waiting-time. One moment
I thought Reis was never coming and
the next I was afraid he would and
after that, all I wondered was why, if I
was looking for suspense, I hadn't tried
it at the end of a rope over a rafter and
been done with it.
However, there is an end to all things,
even to getting chewing-gum off your
fingers and at last a car drew up. I
ran to the window to peek out, but it
was only Chris. He kind of hesitated
on the top step and looked around to
see if Betty's car was parked in its
usual spot. And when he saw it was
gone he braced his shoulders and rang
the bell.
"Hello, Marie." he says cautiously,
"where is that slapstick comedienne of
mine?"
"She's out," I says.
"Then I'm in," he replies, suiting the
action to the word. "Do you know
what she did to me?"
"I saw it," I says. "You must like
lemon pie a whole lot to come back!"
"She sure can dish it out," he says
cheerfully, "but I can take it. And now
let's both calm ourselves. The great
Whoosis will be here any minute now."
Mr. REIS didn't wear any silk hat
when he arrived but he had a high-hat
manner, just the same. He was one of
these picture men who started so low
in life that they can never be satisfied
until they top the tops. However, I
was able to appreciate that kind of
ambition, on account it is what I did
myself. And so, in about two minutes,
Mr. Reis and I were out refining each
other for all we was worth.
"Nice place you've got here, Miss La
Tour," he says, looking around,
"charming, in fact."
"It's not bad," I says, "although it
seems small after my little place on
Long Island. I will be glad to get back
there."
"Oh," says he quick, "you're only on
a visit, then?"
"Just a pleasure trip," says I. "We
may go on to Honolulu soon."
"I've been trying to persuade Marie
to stay a while," Chris puts it. "But
she doesn't care very much for the
modern Hollywood."
"No," I says languorously, "it's too
commercialized. I don't even care to
see the studios."
"But. Miss La Tour." says Reis, "you
can't imagine how things have ad-
vanced. Now our studio is really out to
do big things. Intelligent pictures.
Classics. I wish you would come out
and look at what we are accomplish-
ing!"
"You are so kind," I sighed, "but my
social engagements are heavy. Per-
haps when the dear Prince and Princess
arrive to be my house guests they
might like to see a studio."
78
PHOTOPLAY
"Ah. yes!" says Chris. "The Over-
leftskis. eh?"
"Prince Overleftski?" says Mr. Reis.
pretending that he knew who they
were, which was more than Chris or
I did. '"Oh, yes, bring them by all
means! Pardon my asking, Miss La
Tour, but have you ever thought of
going back into pictures?" I raised my
hands in delicate protest.
"Why no," I says, "why should I?"
"Well, you have not only a great
name," says Mr. Reis, "but a prominent
social standing. I believe people would
like to see you on the screen."
I gave a well-bred little laugh.
"You're very kind, but no," I says. "I
really haven't the time."
"Chris says he has some interesting
footage you let him make for a sou-
venir," says Mr. Reis, staring at me
carefully. "I'd like to see it, for you
are a very remarkable looking woman,
if I may say so."
"Oh, my goodness." I says wide-eyed.
"Why, that was just done for a joke!"
"I wish you would allow me to show
it to Mr. Reis." says Chris, humbly, but
not daring to look at me. "You see he
has a wonderful story — and would I
like to direct you in it!"
I ALLOWED myself a faint show of
interest. "Why Chris, darling," I says,
"if you were to direct me, that might
really be a temptation." Then I turned
to the stooge. "Mr. Reis, Chris is so
brilliant," I says. "But then I always
have heard that you were a genius at
discovering people."
Mr. Reis nodded agreement. "So far
I haven't made many mistakes," he
says, "and that's why I'm interested
in you. I've got a feeling, if we get
together, there's a contract waiting —
say a thousand a week."
"Oh, my dear man. don't be absurd."
I says chuckling into my handkerchief.
Mr. Reis leaned over and patted my
hand anxiously. "There now, don't be
insulted," he begged. "I spoke too
quick. Fifteen hundred."
"Mr. Reis," said Chris with dignity.
"don't you realize Miss La Tour is not
interested in money? A rich woman
like her? The least you could offer her
would be a substantial sum per pic-
ture."
Then he turned to me. "Would
you take say twenty-five thousand to
make one picture — and use it to buy
that little place in Honolulu you were
talking about? Come on now — why
not, just for fun?"
nT that moment I paused to consider.
Well, anyways, I paused, because I had
looked out into the garden and there
was Betty with that Alex Lorm. They
were wandering around and talking
earnestly and the sight certainly gave
me a jolt.
The last thing I wanted was for
them to come in right then and I
watched anxiously until they turned
and sat down by the swimming pool.
Luckily, Chris' back was towards the
French windows, leading out to the
terrace, and I guess the expression on
my face must of looked like serious
thought to Mr. Reis, because he slapped
his knee just as if Chris' suggestion had
been his own.
"My own idea exactly." he says.
"But what if the picture clicked? We'd
want options. What do you say. Miss
La Tour?"
I drew a long breath which sounded
reluctant but was really a sigh of relief.
"Well. I'm afraid you've persuaded me."
I says. "I expect. Mr. Reis. you gen-
erally get your own way."
He chuckled and stood up. "Fine,"
he says. "I'll arrange to see that stuff
Chris has right away, but I hardly
think we need wait on it. because the
society angle is great publicity. I am
honored to have met you, Miss La Tour,
and you'll be hearing from me soon."
"Delighted, I am sure," I says. And
then I stopped short.
OOMEBODY who hadn't rung the
doorbell was coming across the hall.
There was a car outside and the sound
of something heavy being set down in
the entry. A voice called, "Put 'em
here!" And then the living room door
was flung open and there stood Mrs.
Phoopher, the owner of the house, red
in the face, big and fat and vulgar. At
sight of me and the two men and the
cocktails and flowers where she had
left only dust-sheets, her red face grew
purple.
"What's the meaning of this?" she
gasped. "How dare you entertain in
my living room?"
"Why, Mrs. Phoopher." I says, all
weak inside. "This is a surprise!"
"I'll bet it is," she shouted, advancing
on us like a one woman battalion of
death. "When I hired you as care-
taker I thought there was something
phony about you!"
"Caretaker?" gasps Mr. Reis, reach-
ing for his hat.
"Yes, caretaker." says my employer.
"And if you call this taking care. /
call it taking advantage! Mrs. Smith,
please remove your company right now.
Then pack your things, because you're
fired. And to think if I hadn't been
called home unexpectedly, I might
never have known about this outrage!"
"Whoever you are," says Chris
sternly, "you are the one who is be-
having outrageously."
For a moment that stopped her and
in the lull, Mr. Reis made for the door.
There he turned and gave me a sar-
castic smile and bow.
"See you in the society columns," he
says, and with that he was gone.
uHRIS came over and took both my
hands.
"Is it true that you are the care-
taker here?" he asked gently. I couldn't
speak because over his shoulder I could
see that Betty and Alex Lorm had come
to the garden windows and were stand-
ing there listening.
So I just nodded my head, wishing
the floor would open up and swallow
me whole.
"I'd no idea things were that bad,"
says Chris. "Good old Marie! You
should have told me. Shall I stay and
help?" I shook my head.
"I guess we can manage," I says.
"There's not much to move — just our
clothes and my old theatrical trunks
... and Jelliff!"
"Then I'll go find a place you can
move to," says Chris, "and be back by
the time you're ready to go."
"Make it quick, young man," snapped
Mrs. Phoopher. "I want this lady out
of my house, and if there is anything
missing, I'll call the police."
Chris gave my hand a little squeeze
and was gone.
I looked towards the garden and
saw Alex Lorm's white face as he
mumbled something to Betty before
he ran quickly out of sight around
the corner of the house. I felt like
I was going to faint and wished I
could. But I didn't. Yet it was good
to see Betty coming towards me with
her arms outstretched.
JOAN BLONDELL and DICK POWELL — two great
Hollywood stars. They are happily married and
have two children. Joan Blondell is said to originate
this particular, fashionable hair-do. Her dress is
black with jacket effect and green panels.
Jnst when life looks blackest for Marie, a turn of events brings this lovable old
character up against the most exciting adventure of her career. Don't miss this
thrilling climax in JUNE PHOTOPLAY.
Jor your pleasure
ENJOY RBFUiSHWO
OOUBUMINT
CHEWING GUM
I
K-w-S£3££
a popular
i :. Vi^lnS \OUl »" , „,r>iir!
re1
pastime
country- *ou]"rrr long-lasting n»>«'
tastethe7onderfu, o^g *f£k~*»"
refreshed W c ° J face and neck
Ud.es, note the Io^cIn^ F^0^ noted
of ^tractive JOAN f0*uL-b°"
ith her husbana.
■3*5: SS£
The chewing of DOUBLEMINT Cum
aids digestion. . . helps brighten your teeth
MAY, 1939
79
Do Hollywood Women Spoil Their Men?
page l'J)
And then
And I
But tlio futi. : il.uk (or that
flings
think do in thi
But
He to ride h<
A fit
U Our 1 it —
( Setting to
bed at hour hasn't hurt her
slaughter Innocent
ducks hasn't hurt her, either. She's
learned to shoot; she's learned to pull
her weight in a figurative boat; she's
to rough it— and she
line.
Why wouldn't she'.' She's always been
a good sport and this right-about-face
of hen is just another step in good
manship.
Tlie gentleman in question still keeps
out of night clubs and his favorite com-
who at one time didn't
know a pheasant from a partridge. They
have built a sturdy companionship
foundation to romance and perhaps
they'll be married before you read this.
She's remade her life — she who can
have men forming a line on the right to
ask for a date, a glamorous woman
whose career is still on the up-beat.
She's become a crack tennis player and
skeet shooter.
■ ran hand ily as
a lipstick. Sin
In the morning, yank on boots, wool
ridin lumber jacket — not the
becoming of coatumea — drink
ling coffee and start out in a station
ill for a duck blind, over a mile of
bumpy road into some God-forsaken
wilderness where she'll kneel in mud
and water, waiting and motionless, un-
til the wedge-shaped flight of birds
il against the morning
And when it's time to eat, it won't
be crepes Suzette!
I- that spoiling her man?
I don't think so. If she disliked hunt-
ing or sports in general more than she
loved him, she had her choice — she
could stay at home. If she was bored
with skeet shooting, she could have
found another man who was bored with
it, too, and easily.
And I have no doubt that he makes
concessions and goes her way now and
then . . . but perhaps she has come to
prefer his way to her own.
I HERE are a few other little straws
which point the way the wind blows.
.Simple things.
Claudette Colbert, for instance, used
bright nail polish. Then she married.
Her husband didn't like it. So she
doesn't use it now.
(Aside . . . thank you, Doctor. I've
always hated it myself.)
Jimmy Cagney can't stand hotels, so
they say. (Maybe a hangover from his
touring days. I wouldn't know. The
only time I met him he was very com-
fortably situated in a hotel in New York,
but maybe he didn't like it, at that.)
Howi i utly the Cagneys built a
new house and had to move from the
old one before it was finished. It might
have been easier for Mrs. Cagney if they
had put up at a hotel for a few days.
But, because Jimmy hated hotels, she
didn't.
She moved into the quarters over the
new garage instead.
You wouldn't think that Margaret
Sullavan would give in to masculine
whims, would you? Yet I read some-
where that her husband usually dines
with a newspaper in front of him — in
public, too. But she doesn't appear to
object. There's much more to lose by
arguing the point than you stand to
gain.
Personally, I'd object. I think read-
ing newspapers at the table — well, I'll
except breakfast — is a little on the rude
side. But it's Mrs. Hayward's prob-
lem, not mine.
I heard tell the other day that one of
the very popular girls in Hollywood
won't keep a date if the gentleman is
late.
So the boys were accused of spoiling
her. That's very silly! I think the
young lady has taken an elegant stand.
You see there are more girls than men
in Hollywood. And perhaps, therefore,
some of the boys are spoiled — in the
wrong way. They are at a premium as
escorts, aren't they? So, maybe they
thought they could get away with being
late.
So it isn't spoiling the girl, if she
locks the door when the bell doesn't
ring at the right time. It's teaching the
lads good manners.
I would go on record as saying that
people who love each other very much
and who concede something to each
other's tastes and personal likes and
dislikes aren't spoiling each other — they
are building companionship.
Spoiling is something else again.
Spoiling is building selfishness — in the
man you spoil and in yourself, too — be-
cause sometimes it is easier to give in
when you know you shouldn't and
sometimes you like to feel a martyr, and
sometimes you get a kick out of being a
"good" wife.
That's spoiling a man, letting him
have his way in things which are bad
for him, bad for you, bad for your ro-
mance or your marriage. But to con-
sider his tastes, his dislikes and likes
isn't spoiling at all.
Ask the same consideration of him —
and get it — and you have the makings
of happy marriage.
Suppose he likes to — well, let's say
bowl — and you like to go to the movies.
All right, compromise. Bowl with him
or, if it's a stag affair, let him go alone.
Then, turnabout being fair play, see to
it that he takes you to the movies as
often as he goes bowling — or whatever
it is he does.
In other words, spoil each other and
you can't call it spoiling!
As for the Hollywood women who
'"spoil" their men. Maybe they do — I
wouldn't know. I just know that they
seem to have them.
Jean Parker i> blossoming out as Holly-
wood's newest glamour girl. Watch for her in
the Hal Roach production "Zenobia".
ALWAYS FRESH! Doubly pro-
I y two jacket* of Cellophane.
Ill II li jacket opens at BOTTOM of pack.
TUNE IN:
Akm -M \tt - On lieiln, ~umla\ night*, Columbia Network, Coaal-to-Coul.
80
PHOTOPLA
Close Ups and Long Shots
(Continued from page 13)
those crowds for half -hours at a time and
be pulled at and yelled at . . . stand as
George Brent did that night for a half-
hour in the rain and sign his name on
pieces of paper of every size and de-
scription and in most varying states of
cleanliness . . . but if George was
groaning inwardly he certainly didn't
show it at all but signed to the very
last request and then we got in the cab
and dropped off the Bellamys at the
theater they were going to and headed
for sister Peggy's apartment, which by
one of those coincidences turned out to
be in the next building from the one in
which I was staying in New York. . . .
I HE idea was that we would stay at
Peggy's, with her and her escort of the
evening, and just talk quietly for a
while, which we did ... of George's
months with a stock company, when he
first was getting going as an actor . . .
and of his marriage to that very inter-
esting woman. Ruth Chatterton . . . and
of his friendship with that even more
interesting woman. Greta Garbo . . .
and of the house he had built for him-
self in the loneliest and most beautiful
of all the canyons around Beverly Hills
. . . and of "Dark Victory" in which
George thought he had the best part
he had ever had on the screen and
in which he said Bette Davis was mag-
nificent. . . .
It was gorgeous talk that went on and
on, so much so that when we heard the
clock strike midnight I could not believe
it could possibly be right. . . .
The striking of the clock, however,
merely gave George another idea . . .
'"Listen, this is silly." he said. ''We can
always talk in Hollywood but in New
York we should go to night clubs"'. . . .
"But you'll have to dress," said Peggy.
"I'll phone for my clothes," said
George and with that he was on the
telephone to his valet and within ten
minutes the valet was there, with shoes,
socks and black ties dangling over his
arm. and I dashed home and threw my-
self into the nearest dress and gave one
despairing glance at my hair, and then
we were in a cab again and headed for
El Morocco. . . .
The rope was up at El Morocco but after
one glance at Mr. Brent the rope fell
and immediately a small table appeared
literally out of the air over the dancers'
heads and was brought down almost in
the exact middle of the floor . . . thither
we were piloted and seated . . . and the
headwaiter was there, bowing unctu-
ously and the wine steward was there
bowing unctuously and the orchestra
leader began blowing the tunes in our
direction and those photographers' flash-
light bulbs began popping all over the
place every' time we got up and tried to
dance . . . with that very suave young
gentleman, Jerome Zerbe. finally getting
the snap which you see on page 13 in
which George looked handsome (as al-
ways) and I looked ghastly (also, as
always) ....
Nothing could have been in greater
contrast, this place and the Third Ave-
nue saloon . . . nothing could have been
more calculated to go straight to the
head than all that homage and flattery
and attention . . . but it didn't bother
George in the least . . . not any more
than it bothered him when a friend
came across the floor and asked to in-
troduce his girl to George ... or when
a drunk stumbled by and muttered
about these Hollywood heroes hogging
the spotlight ... or when the man
came over who explained that he was
an out-of-town detective there with an-
other out-of-town detective and that he
and his friend had made a bet, see, that
George was George Brent but that even
if he was he'd be too swell to come over
to their table and talk with their wives
. . . but would he be a pal and do it . . .
so George did go over to their table for
a minute or two. . . .
In all justice to them, I do not believe
that one single person in all those peo-
ple realized that actually they were
being pretty rude breaking in on a
stranger's personal privacy ... I don't
believe they realized that or that they
were in turn demanding absolutely ab-
normal good manners on his part. . . .
FINALLY, however, the band went
home and most of the crowd and I told
George that whether or not he believed
it, I did have a home and that I did
have to go there sometime ... so we
came out into the street again . . . and
the quality of the light made us glance
at our watches in horror ... it was six
o'clock in the morning. . . .
Thirteen hours on a cocktail date . . .
thirteen hours of swinging from the
slums to Park Avenue, from very old
acquaintances to talking to people you
had never seen before . . . thirteen
hours of a man's being polite and never
losing his temper even under the most
extreme provocation, and of being con-
tinually amusing. . . .
Maybe my friend is right ... as I
say, he really is much smarter than I
am . . . and maybe thirteen hours like
that are just a normal life-sized cocktail
date to him . . . and to the average per-
son . . . but I don't think so . . . and I
know for me they aren't . . . and that
they are only possible when they are of
Hollywood, or in Hollywood or by
Hollywood, as this one was. . . .
But he's right about one thing and no
argument . . . that Mr. Brent is cer-
tainly much handsomer than average
. . . and as for being charming . . . ah,
woe is me and darn that Garbo . . .
after all, there's just no sense in trying
to comoete with a dame like that.
A proposal to the Girl who
has never had a proposal
Use a Long-Lasting
Deodorant
THE BERNARR MACFADDEN FOUNDATION
conducts various non-profit enterprises: The Macfadden-Deauville Hotel at Miami Beach, Florida,
one of the most beautiful resorts on the Florida Beach, recreation of all kinds provided, although
a rigid system of Bernarr Macfadden methods of health building can be secured.
The Physical Culture Hotel, Dansville, New York, is open the year round, with accommodations
at attractive prices, for health building and recreation.
The Loomis Sanatorium at Liberty, New York, for the treatment of tuberculosis has been taken
over by the Foundation and Bernarr Macfadden's treatments, together with the latest and most
scientific medical procedures, can be secured here for the treatment in all stages of this dreaded
disease.
Castle Heights Military Academy ai Lebanon, Tennessee, a man-building, fully accredited school
preparatory for college, placed on the honor roll by designation of the War Department's gov-
ernmental authorities, where character building is the most important part of education.
The Bernarr Macfadden Foundation School for boys and girls from four to eleven, at Briarcliff
Manor, New York. Complete information furnished upon re-
E\er\ girl needs a true perspiration
check thai her bath cannot render
ineffective . . . that \>ill not fail
her after tennis, a 'walk, dancing."
>ry1h^ -^W
SO manv attractive girls make the
mistake of thinking their charm in-
completely protected when in reality
thev may be safe for a short time only.
They do not seem to realize that it
takes a true, long-lasting perspiration
check to insure Long-lasting dainti
One that cannot be neutralized by a
bath, that cannot fail you just when
you want to be most appeal i' «
You may start out fresh and sweet,
but are you still sweet and appealing
after an evening of dancing? \ou may
not be unless both that little hollow
under your arm and your dress are
completelv dry! Are you still protected
against perspiration odor after a warm
afternoon of shopping or a walk or a
fast game of tenni-?
BE SURE!
Remember, even though you think you
do not perspire enough to matter — you
do — everyone does. Espei tally when
vou are nervous — and you're most apt
to be just when you're trying to make
your very best impression! No matter
ho^ sweet you are yourself, if perspira-
tion has been allowed to collect on
your dress, it will betray \ou.
If vou think you are the exception,
smell the armhole of your dress when
vou take it off. It may explain why
vou have been "unlucky in love. And
why women of refinement use Liquid
Odorono — a doctor's prescription— a
long-lasting perspiration check which
controls dampness, odor and staining.
EASY- SAVES TIME!
Liquid Odorono keep- your underarm
completely dry. as well ass from
1 to 3 davs. \^ hy hope you'll stay glam-
orous when it is so easy to be
Thousands of discriminating women
use Odorono regularly vith complete
satisfaction. Liquid Odorono brini:-
sure freedom from any embarra—ment
— or even the fear of embarrassment.
Liquid Odorono comes in two strengths —
r and Instant. Also in Ice torn
women require only two applications a week.
Think how that simplifies the problem of daily
daintine--! The I mical.
Buv ■ bottle or jar t'"la\ ! The
Odor ^ ■
MAY. 1939
81
VOLUPTE
&
Po,,s V^^
,- Lipstick-
hosVo'oP,eLPbound,o
,nd s°
set
piN<
that
3f °
shiny
Lips'"
•■pre
tty
plea
se!
W
Hh
(\iivc
ha $**
ik
.sou. P"° 5S3"JC
31dniOA
Why Not Be Somebody?
picture wholly mental, then it I
our thinking that we must do our prat -
lien
We mual practice to be somebody ju^t
■ iuld practice to be a good
i .Lin : • ■ minister, an engineer,
anything worth while. The pii
would never advance from the .simple
ting, without practice. Neither
can we advance toward liecoming some-
body without practicing the elements
that make a person important and nec-
essary and the fust element upon which
we must begin is honesty.
Honesty of purpose was the first thing
; I looked for in a young player brought
to me for dramatic training in the
Little-Thcutii -on-the-Lot at RKO Stu-
dios. You would truly be surprised to
know how many of these youngsters,
fortunate enough to be put under con-
tract as beginners, did not keep faith
with themselves or the studio.
They must have started out with a
yearning desire to make something of
themselves. The studio had enough
faith in their sincerity to put them
under contract and pay them while they
learned. They said they wanted to
learn. Well, they will probably wake
up, all of them, some day; but, in the
meantime, who is cheated? Had they
known HOW to be honest to a purpose,
faithful to an opportunity, see the time
that could have been saved.
We need to be honest with ourselves!
In the sanctuary of our thinking
where no one may come with us unless
invited, where we hold council with
ourselves and make decisions, here,
right here is where honesty begins and
abides. It is from here our thoughts
are mirrored in speech and action.
Shakespeare was so right when he
said:
"This above all: to thine own self be
true,
And it follow, as the night the day,
Thou canst not then be false to any
man."
This above all!
It takes a heap of self-examination
to be true to "thine own self." You
must be alert and alive to everything
that person who is you is thinking and
doing, and the only hope of properly
judging him, correcting him, strength-
ening him, is absolute honesty with
him. Self-honesty is the only basis
from which you can advance and it
isn't some newfangled basis either. It
is part and parcel of that ancient ad-
monition, "Know thyself."
IOU are probably not old enough yet
for your life to have taken on any
definite design. But, regardless of your
choice of a life work, you need nothing
now so much as the hammering and
ling of experience in many things.
You girls who will choose to be wives
and mothers as your future . . . oh,
you must definitely be somebodies! The
whole of the next generation depends
on that!
It is highly improbable that any of
you are qualified to judge, as yet, where
you will be best suited to serve the
world. Your problem is to begin serving.
Service! Did you ever stop to think
that every work you ever do, everything
you ever do is serving?
Now, don't get the idea that I am
dancing gracefully into the indefinite or
being a Pollyanna when I give you
"Service" as the keynote of a success-
(Contiuued from page 17)
ful, happy life! The greatest Exemplar
of human living, when asked how best
a person could be somebody, almost two
thousand years ago. turned to His in-
quisitor and said. "He who would be
I among you, let him serve." He
wasn't just talking. He was stating one
of the fundamental laws of human living.
We cannot become somebody, be im-
portant either to ourselves or the world,
unless we serve. Any right activity is
service and activity is the piano upon
which we must do our practicing. It is
genius that "develops itself in solitude,"
but character develops itself "in the
stream of life."
If you haven't some worthy activity
in your life now, get one. It is as nec-
essary to you as breathing! If you are
already up and about doing something,
broaden it, deepen it, enlarge upon it.
frOULD you like to hear about a boy
you all know, who, believing that to be
somebody a person first has to serve,
proved it?
His name is Ben Alexander.
I've known Ben since he was four. He
was a child star in the "old silent days"
of motion pictures.
Children stars in those days were not
paid so generously as they are today,
so Beth, his mother, had little oppor-
tunity to lay away any considerable
sum of money against the day when
her boy would come to his in-between
age.
The awkward age came. Ben had
some small picture assignments, but
nothing that could be counted on to
meet his needs.
You may not know it, but there is
something pretty terrifying in having
once been a needed person, one whose
services were clamored for, to find your-
self suddenly no longer needed. Ben's
friends who loved him, suffered for him.
Richard Greene and Wendy Barrie
at the "Little Princess" preview. In-
siders insist this is no studio
romance, but the real thing — love!
Then, one day, something happened
to Ben. He wanted to do things and
it seemed nobody wanted to let him
do things. "All right," he seemed to say
to himself. "I'll find something to do.
I won't just sit here like a lump on a
log!"
Quietly he went about it. Soon his
friends learned that Ben was helping
in the supervision of basketball, foot-
ball, swimming, on the playgrounds
among the boys in his community. He
was always disappearing early from
parties ... he was "taking some young-
sters up to the mountains to camp"
... or something. "Well, it's something
to do," he would say.
One day we all had a call from Ben
asking us to listen in to a certain radio
broadcast. One of the boys on the camp-
ing trip had a friend in radio and had
introduced Ben to his friend. Ben was
to be on a sustaining hour. "Oh, there
isn't any money in it . . . but it's some-
thing to do . . . and you never can
tell. ..."
Ben was on that program week after
week for months, maybe a year. Noth-
ing came of it . . . yet he never relaxed.
He gave to the best of his ability every
broadcast.
Then, oh joyful news! Our Ben had
found a sponsor! Ben was to be master
of ceremonies. Ben was to get a good
salary. Everybody who knew him re-
joiced!
Then Ben Alexander did a very Ben
Alexanderish thing! He set up his goal
posts . . . but right now! He entered
a famous university where today he is
a student, and commutes twelve hun-
dred miles a week by air between the
school and his broadcasts.
And, then, the story of Ben took a
wonderful twist: RKO pictures an-
nounced that, because of Ben's new
popularity, they had signed him to play
an important role in "Mr. Doodle Kicks
Off." Since then, he has also made
"Convict's Code" for Monogram.
Insisting upon being of service, some-
thing to do, some place to begin (simply
taking boys on a camping trip) ... do
you think Ben Alexander had any idea
where it would carry him? Do you
think the doubting, ineffectual, con-
fused Ben could have been changed
into the confident, sought-after, definite
somebody who is Ben today were it
not for his demand for activity?
INSIST upon activity, even though you
must manufacture it . . . make it out of
nothing. You cannot become somebody
sitting still!
If you have an activity, especially if
it is one for which you are being com-
pensated with salary, be sure you are
paying the services you owe. Strange,
but it isn't so important to the one to
whom we owe the service that we pay
it. It is important to us that we pay it!
For instance: Lucille Ball came on
our lot as a model in the picture "Ro-
berta." Along with several other girls
from that picture she was put under
contract as a beginner and sent to my
classes.
She was a gay, witty, laughing girl
who many people instantly judge as
being wonderfully amusing but none
too serious about it all. Lucille was
having a wonderful time!
During the first few class sessions, I
watched her closely. She had "the
flair," all right! I called her into my
82
PHOTOPLAY
ffice for the first of many, many heart -
3-heart talks.
Our conference began on a high note,
lied with humor, but somehow I sensed
le deep yearning to be somebody cov-
red cleverly by all that gaiety and
lose gags. I dove for it!
'"Lucille," I said, "what would you
ive to be a star in two years?"
The laughter died out of her clear,
lue eyes.
She nearly gasped aloud. Then
saw her mentally gauge the work
nd struggle that stood between
er and such an achievement. (After
wo sessions with me, my students
nderstand that a career on the screen
m't pulled out of a hat.)
Lucille looked squarely into my eyes.
Ji, here was the Lucille Ball I wanted
> meet!
"I'd give half my life, Lelee," she
nswered.
"Odd. but that isn't what it takes,
ly dear," I said. "However, I know
rhat you mean . . . but why?"
Again the answer did not come at
nee. She looked away for a moment,
len back at me, seemingly dreading
) put her thoughts into words lest I
link them too sentimental. But she
as courage, that Lucille! "Because I
rant to be somebody in this business
nd" — the rest was harder to admit, so
knew it was nearer her heart — "be-
luse — well— the bosses had faith enough
1 me to give me this chance, and I
rant to — well — make good for them, I
uess."
"You fulfill that line about the bosses,
.ucille," I answered, "and the other
ne will take care of itself."
CAST her in a play to be done by
le students in the little theater. Lucille
ras not to play the leading role, but
n important part. It meant long hours,
jr she was doing bit work in pictures
uring the day and rehearsing with me
t night.
It was during the last week of our
ehearsals that Lucille experienced her
rst discouragement. She was called
ar a bit in -"Top Hat," the current
istaire-Rogers picture. She was to
/ork with Mr. Franklin Pangborn in
he flower-shop scene.
On her first day of work I had a
rantic call from Mark Sandrich, the
irector, to come to the set at once.
I've worked two hours to get this scene
ut of Lucille," he explained, "and I
an't waste any more time . . . it's cost-
rig too much money. She's not ready
o do important things . . . and this
cene is important."
(Yes, acting looks easy. The players
eem to just stand there registering
ome emotion, looking beautiful or
landsome, as the case may be. But
icting isn't easy!)
There stood Lucille, helpless, almost
n tears. Mark's heart was touched. A
udden inspiration, "I know what I'll
lo," he said. "I'll give the important
ines to Mr. Pangborn ... it will work
ust as well . . . and I won't have to
lurt her by taking her out."
But, it didn't fool Lucille. She knew
he had failed. She wept bitter tears
>ver it later, but it couldn't dull her
ietermination. Rather, I think, it
jointed out to her how very much she
lad to learn before she could hope to
stand beside seasoned performers and
lold her own.
A WEEK later she was the hit of our
play. I cast her in another. Now she
was to have the leading role. We
talked it over very seriously. It was
an ambitious undertaking. However, it
turned out it would be seen by all the
heads of the studio ... the producers,
the directors. (If Lucille is in this
business of acting for fifty years she
will never have a longer or tougher
assignment.)
Her sincerity was tested severely, but
she never cried quits or asked for quar-
ter. More often she begged, "May we
go over it just once more, Lelee, or
are you too tired?" She wore the rest
of the cast down to nubbins, to say
nothing of me.
This was a courtroom drama in which
Lucille, playing the part of an actress
accused of the murder of her husband,
was acting as her own attorney and
defending her own case. She had forty
cues of "I object!" To keep in mind
her own speech to follow, she had to
learn the entire play . . . everybody's
part.
After the play had rehearsed for six
weeks and had been open to the public
for several weeks, Lucille was still com-
ing into the theater at six o'clock every
night and studying her part until cur-
tain time . . . eight-thirty. Her per-
formance certainly showed it. She was
magnificent!
Lucille gave up friends, saw almost
nothing of her family, gave up parties
and outings and spent every waking
hour in that dingy little theater when
the California sun and the beaches were
calling. We even rehearsed Sundays!
This began in the winter of 1935.
In the winter of 1937 Lucille got her
first major role in "Stage Door" with
Katharine Hepburn and my Ginger.
You will remember her as the girl who
left the theatrical boardinghouse to
marry the Seattle lumberman . . . the
funny girl who was always taking
Ginger on blind dates.
In the spring of 1938, the studio an-
nounced they were starring Lucille
Ball!
That first star billing read: Jack
Oakie and Lucille Ball in "The Affairs
of Annabel."
Right here, let us pause and do some
addition:
A girl
Honesty
Sincerity
Purposefulness
Ambition
Sacrifice
Hope
Result: SUCCESS! SOMEBODY!
What a triumph!
I HERE were those in my classes who
would come to the theater in evening
clothes, all ready to go to a party or
dancing at the Trocadero as soon as I
would dismiss them.
Their "dates" would come for them
and sit in the back of the theatre
impatiently waiting. To these, class
was a duty they owed the studio in
return for their salaries. They had the
cart before the horse.
But, there were also the two guest
students, not on contract at the studio,
not being paid while they learned, whom
I permitted to take the work along with
the others because I believed in them
and their sincerity.
Both of these are now in pictures
with nice contracts: Russell Hayden
and Phyllis Kennedy.
With your very next thought ... no
this thought . . . begin to put into prac-
tice the consecration of every thought
to some worthy achievement. Insist
upon serving, with honesty of purpose,
with self-examination, without self-in-
dulgence. If you seem to have no place
to begin, make one. Start at something.
Right activity will lead you to your
proper place.
If you have something to do now, re-
member ... it is inevitable that when
we pay to the fullest a service we owe,
ours is the richer reward.
1
Ti*
. . . have always been created
by the inspired fingers of
skilled craftsmen. The love-
liness of Genuine Orange
Blossom Engagement and
^Yedding rings may likewise
be attributed to the ski
and infinite care with which
they are fashioned by Traub
Master Craftsmen. Your
jeweler will be pleased to
Genuine
tCTtt
ENGAGEMENT AND WEDDING RINGS^<^^/
MAY, 1939
83
Sturdi-flex —
ideal figure fabric
says Hollywood Designer
■
tl Muring
jnj iJta!i;ing the tints
UttnlleJ
UrtUb retain* the fiuiJ
■
■ the n 4 i u r a I
/if*""
How Irene Dunne Succeeded Without Glamou
Millions of women wear and love
Kleinert's Sturdi-flex because:
• its controlled ttretch rubber
smooths awaj bulges,
• its mm needlepoint perforation*
permit evaporation of healthy
perspiration,
• its odorle$tt washable turf ace
never betraj s itself.
• its mtt u/ilifl bra flatters your
figure,
• its $lide-fastened back opening
m.ikis it easj to put on,
• in paneled front with concealed
boning flattens and supports the
abdomen.
|ust go to the Notion Counter <>f your
favorite store and choose the style and
si/e thai will <l<> the most lot Y< >! \
widt \.iriit\ of step-ins from $ US and
all-in-ones from ^2 up.
rrif" tikhtir
•T M I:
TORON in. \i w vohk... LONDON
worth-while women 1 i
and I'd like you tn know hi
.
Wl. in Holl
: ikm by my brother
.nit to the Santa Anita race track. On
ml. iy you will find many
Hollywood oelebi itii-s watching the
run in ih.it Incredibly beautiful
.md the euca-
lyptus trees and the blazing flower gar-
Sitting peacefully at a table with Vir-
ginia Bruce and a group) — just above us
Mary Pickford, the Grand Duchess
Marie and Jimmy Roosevelt -I was sud-
denly .startled by sueh a wild rock.
:ng as I had never heard even over
a Notre Dame touchdown. Sixty thou-
sand people were standing up whooping
as the horses came out on the track.
What in the world—" I said.
Wait." they told me. "Wait and
watch See that horse there — the last
one — well, that's Malicious."
"Who," I said, "is Malicious?"
licious has never lost a two-mile
race on this track in four years," they
said. "He's wonderful. Just watch"
Well, Malicious did no cutting up at
the barrier. Other horses rocketed and
pawed and broke, but Malicious stood —
a little bored. I thought — and got away
to a fair start. Now. a two-mile race is
a very long race, indeed. But when the
field came by the grandstand at the end
of the first mile I was bewildered and
disappointed. Malicious was running
easily and quietly and very unconcerned
— fifteen lengths behind the rear horse
in the pack.
"You're all crazy," I said. "Why, I
wouldn't give you a nickel for his
chances."
"No?" they said.
The field went into the far turn and
suddenly the loud-speaker boomed down
at us. The announcer's voice was shak-
ing with glee and excitement, "Here
comes Malicious!" And again sixty
thousand people began to yell.
Just how it was done I'll never know.
Still running with the supreme ease of
the thoroughbred, here came Malicious.
At the mile and three quarters he was
even — coming into the stretch he began
to make his bid. And sailed under the
wire with incredible aplomb — seven
lengths ahead of the place horse.
When he came back to the grandstand
for his jockey to weigh in, he turned his
head and looked up at the crowd and I
swear he winked — well, maybe not, but
his expression conveyed the impression
that he wished to wink.
When the parade of champions takes
place at Santa Anita each year, the stars
and great ones of Hollywood stand and
SI lute — not the great Seabiscuit, not the
Handicap winner. Stagehand — but their
iic. Malicious. It is the same with
the entire crowd. They salute and cheer
some quality in Malicious that they do
not find in the more spectacular win-
ners.
nNOWING Irene Dunne's divine sense
of humor, I am quite sure she will not
mind being compared to that great thor-
oughbred. Malicious.
There is something in her that isn't
glamour, that isn't sex appeal, that isn't
genius or temperament or beauty. It's
the thoroughbred quality that never
lets you down, no matter how long
the distaiiee. how tough the opposition,
how far behind in the early race.
It hasn't been as much advertised as
glamour and it's quite as indef.nable.
mtinued /ram page 24)
But it's written all over Irene Dunne's
thoroughbred face The real qualities
favorites, I believe, come
through to us by some soul-searching
ray In the camera. We knew, for in-
stance, that Marie Dressier and Jean
Harlow matched each other, great soul
•icat soul, big heart for big heart,
though no two women ever looked so
differently.
When you see Irene Dunne on the
i your heart warms because there,
say you, is a good girl in a pinch, a girl
who will stay the course, who will al-
ways be trying and giving you her best.
There used to be a song about "She was
bred in old Kentucky . . ." and that's
where Irene Dunne was born and bred
and she belongs to its best traditions.
One of my first experiences with her
was on the radio. The radio hadn't dis-
covered Hollywood in those days, or
Hollywood hadn't discovered the radio.
Anyhow, it was one of the first radio
interviews with screen stars — and I had
the remarkable combination of Jean
Harlow and Irene Dunne, I've forgotten
why.
Around the lot Miss Dunne had the
reputation of being pretty high-hat,
very poised and very, very much a lady.
While Jean, who had just come through
deep waters of tragedy and scandal, was
known as a package of dynamite. And
when we went down to the radio studio
I was in some trepidation as to whether
I'd be blown through the mike by Jean
or frozen stiff in front of it by Miss
Dunne.
In my long experience I've never seen
such a case of mike fright as the poised
and stage-experienced Irene Dunne got
for herself. There is nothing worse, let
me tell you, in human experience than
mike fright. Two seconds before I
popped the first question at her, she was
rigid, there was sweat on her pretty
forehead and her eyes were glassy. I
made ready to take over with Jean, who
was bubbling with adventure, as usual.
But Irene Dunne never let anybody
down. Her responses were not only
charming, they were clever, warm and
spontaneous. If her hands and knees
shook her voice darn well didn't.
And I shall always remember that go-
ing home — Jean and her mother had left
— she said, "That's the first time I'd met
Miss Harlow. I didn't know she was
such a fine woman — and such a lady."
Since a great many people didn't
know that about Jean, the thought came
to me that it took one lady to recognize
another.
IRENE DUNNE resisted a good many
temptations in her early career — oh. be-
lieve me. They wanted her to put on
an early burst of speed. They wanted
her to make headlines. They wanted
her to acquire glamour.
But the girl from the Kentucky blue-
grass knew it was a long race. She
knew she had enough to stick in there
with for the first mile — and she wanted
to have enough left for the finish.
I've always had a very strong hunch
thai Miss Dunne has a deeper under-
standing of the American way, the
American heart, than a great many other
act i esses have had. A great many of
our biggest stars, as we all know, have
been born across the Canadian border,
or across the seas. Irene was born in
Kentucky and her father built and
owned and captained Ohio River steam-
boats. There isn't anything closer to
the heart of America than those arteries
that have meant so much in our history
of war and peace and pioneering and
Lopment
From the very beginning, Irene Dunne
had quite consciously an idea of re-
maining herself. I know that because
she told me so. She admired extrava-
gantly the glamour girl. Admired the
spectacular — for actresses. People, she
said, wanted excitement and drama
around the colorful figures shining on
the heights of Hollywood.
"But it's not for me." she said. "That's
one side of it. There's another. It's
smart to be conservative — if you're born
conservative. I was. I'll play along that
way — being myself."
Therefore, today Irene Dunne is in
many ways closer to the real American
woman than any other screen star. In
magazines we have a phrase known as
"R I," which means reader identifica-
tion. The thing which makes the reader
identify himself with the character or
story or background — either by means
of hope or familiarity or application to
himself in some way.
Irene Dunne has more audience iden-
tification than anyone else because,
while we may admire and envy the
glamour girl, we do it from a distance.
When we see Irene Dunne we know
we're like that — or almost like that —
and we might have those things that
happen to her happen to us.
I HERE isn't much historical data on
Irene Dunne. In 1926 she graduated
from the Chicago College of Music. For
one season she was under contract to
the Metropolitan Opera Company. She
sang light opera — prima donna roles —
and while appearing in "Irene" made a
screen test. Once in Hollywood, she de-
cided to make pictures her goal.
She has been married for almost
eleven years — since July 16. 1928 — to Dr.
Francis Griffin, a New York dentist.
who has now moved his. practice to
Hollywood. They have one adopted
daughter, Mary Frances Griffin, now
four years old.
Irene's house in Holmby Hills — be-
tween Hollywood and the sea — is a
bright, charming, delightful place which
is not pointed out by the sight-seeing
busses because it looks exactly like most
of the other charming, conservative
houses around it. Very few people in
the Movie Capital know Mrs. Griffin, not
because she does a Garbo, but because
she doesn't care for society in a big way.
When you dine with her. you might be
dining with any other well-bred Amer-
ican woman.
Now. as a rule, I do not care for my
actresses to be just like everybody else.
It bores me. I like 'em to be tempera-
mental and get into trouble and have
love affairs and live a life that is excit-
ing. The "cooking is my hobby" and
"I'd rather be alone with a good book"
school has never intrigued me.
The point is that Irene Dunne means
it. is it — and has quietly, conservatively
and smartly made it pay enormous divi-
dends. It's real and it reaches out to
your heart and mine.
As a matter of fact, she doesn't like
cooking and she prefers music to books.
Her collection of phonograph records is
priceless and her radio brings her the
New York world of music from which
she is separated most of the time.
It isn't the outward mask of Irene
Dunne that is like the ideal American
woman. It's her heart.
When you think of anyone you like
and admire a great deal, some one char-
84
PHOTOPLAY
acteristic always stands out. In Irene
Dunne it is indubitably her sense of hu-
mor. I don't in the least mean that she
goes roaring around the place laughing
at nothing or that she puts electric bat-
teries under her guests' chairs or that
she is always getting off some quotable
wisecrack. Looking back over the
story conferences upon which we have
happened to be present together I can't
remember anything she ever said that
was particularly witty. Only little quiet,
very sane comments, put in a shrewd,
twinkling little way.
"It's very nice of people to call me a
lady," she said once. "But I do hope
they'll remember it's important to be a
woman first."
Her sense of humor is particularly
American. It serves her twenty-four
hours a day, but it never bobs up at the
wrong time. I mean, she hasn't that
dreadful habit of suddenly starting to
talk about night clubs like someone out
of a bad novel just when you actually
want to be serious.
Only, it's there. It's the kind of a
sense of humor you'd like to think St.
Peter will possess when you arrive at
the pearly gates. It's the sort that
Abraham Lincoln possessed — it comes
out strongest when things are most dif-
ficult. It eases situations. It is tied up
with a sort of divine tolerance and it
can be turned upon herself.
You can't work on the same lot with a
woman for a year without knowing her
real character. Irene Dunne would be
the most amusing, most balanced, most
adorable "best friend" in the world.
I HERE is another thing about which
she has thoroughly understood us and,
following that understanding, has given
us something refreshingly dear to our
hearts.
We are not, actually, a hectic nation.
We go along humorously amused by life
as long as anybody will let us. We like
a bit of excitement, to be sure, but all
this wild merry-go-round business
really isn't for us. We grow very weary.
Let me see — well, again I must depend
on Irene's sense of humor.
My favorite sport is six-day bicycle
races. During the six days that they go
on in Madison Square Garden I am
completely demoralized. I get no work
done. My family, as far as I know, eats
off the pantry shelves. I spend my time
watching the bike races.
When my startled friends want to
know why I adore this form of sport far
more than anything else, I am bewil-
dered— or was. I have finally solved it.
I like it because of the in-between-
times. Of course, I am as good a fan
as any and during the hour sprints and
the wild jam sessions, when forty bi-
cycles are leaping about at fifty miles an
hour and crashing like comets, I stand
and yell without ceasing.
But then it's over for a while. Every-
body sits down and relaxes. The riders
coast around with a gentle rhythm.
Everybody eats peanuts and drinks lem-
onade and drifts around talking to
friends or gets into long conversations
about this and other races with perfect
strangers. Sometimes you even doze a
bit, if it's very early in the morning or
very late at night. Hot dogs taste de-
licious. A cigarette can be enjoyed to
the last puff. You get up and walk all
the way around the Garden and discuss
the scores and the points and sometimes
you get a chance to visit with your best
friend or you find yourself in an argu-
ment about labor or Roosevelt or any-
thing at all.
Then, suddenly, there's a yip, a mad
scramble — they're off again and you're
tense for another twenty minutes — or
two hours.
That is the way I like life, sports — and
people.
IRENE DUNNE has that quality. Some-
times she can be hectic, exciting, thrill-
ing and appealing. But she doesn't do
it to you all the time, either in her per-
formance or her personality. She doesn't
wear you down. Or out. Part of her
charm is that sometimes you can relax
and wait for the next bit of excitement.
Men don't want to make love to women
every minute — they like to sit and talk.
Women don't want their best friend al-
ways to be in the midst of some tragedy
or drama — sometimes they just like to
sit and talk.
That's the American way, at least.
In those things lies the secret of Irene
Dunne's phenomenal success — without
glamour. The girl nobody thought would
survive has, in the long race, come in
ahead of so many who seemed far away
from her — because in her own wise and
witty way she's a real American gal and
she understands us.
Sometimes she rises to fine heights of
acting. Sometimes she's a magnificent
comedienne. Sometimes she's beautiful
— romantic melody at its best. It's all
real. And between times, you can sort
of be right friendly with her, and sit
down and share a hot dog and a bag of
peanuts.
Why American Men Don't Want to Marry
Hollywood Women
(■Continued from page 31)
dark, tall or thin, rich or poor, but I
can tell you this about her now: she's
going to be a nonentity."
So the obscurity-hounds — the haters
of publicity — the men who don't enjoy
the spotlight — are another group de-
livered from that queue suing for the
moving-picture star's favor and handed
back to the rest of the feminine popu-
lation to battle over.
They form a surprisingly large and
vehement group, too. They shudder in
sympathy with the husband of Claudette
Colbert, whom Claudette so zealously
tries to protect by wistfully begging the
cameramen to, "Take all the pictures
you like of me, but let my husband
alone."
Cameramen do not let Miss Colbert's
husband completely alone. No hus-
band of a moving-picture star can en-
joy complete obscurity. And the mar-
riageable men of 1939 are well aware
of it.
Our Wall Street Irishman blamed
publicity for the Hollywood mortality
in marriages. But many of the other
single gentlemen found a more funda-
mental reason for the plentiful divorces
in the screen colony.
T
HE next stop on our bachelor parade
turned out to be a man with a snug
oil-refinery business and high ideals of
what a marriage ought to be. He based
his reluctance to marry a star on "their
record."
"The girls in Hollywood," he said,
"don't stick.
"That goes for minor actresses, as
well as stars. They live in an abnormal
atmosphere, where the standards of
what is important in life are turned
topsy-turvy by their interest in getting
NOW-
q Special Type Lipstick
to Avoid that Wet Paint Look
All Men Despise
AMAZING CREATION OF FRENCH COLORIST
MADE TO MATCH THE PULSING
COLOR OF THE HUMAN BLOOD
TODAY there is a way of make-up that may astound you by what
it does for your appearance. On all sides, many women are
adopting it.
You simply use a special type of lipstick called Angelus Lipstick,
that is made to match the warm, pulsing color of the human blood.
Thus its color blends magically with your own skin tones, giving a
perfectly "natural-looking" make-up.
Your lips seem in full-bloom, tender, appealing — you avoid that
"wet paint" look all men despise.
So try this way. Try especially Formal Red #404 ... an utterly new
color that is gay and enchanting by day — after dark exotic... compelling.
See the other marvelous colors too — such as Framboise, #414,
and Coronation Red, #400. Win new loveliness this way. At all drug
and department stores.
Listen to "The Romance of
Helen Trent" week days
at 12:30 P. M., N. Y. Time,
Columbia Network.
CREAM ROUGE
in colors to match
the Lipstick
MAY, 1939
85
"•Or
A
new outlook on
the whole hygienic problem of women is pro-
vided by the invention of Tampax, the patented
j! absorbent. This principle has long been
used by doctors, but the physician who per-
fected Tampax has ingeniously made it avail-
able for all classes of women.
Tampax is so comfortable you forget you
are wearing it. As it involves no belts, pins or
pads, there is of course no bulk to show, e\en
with sheer formal evening gown or modern
swim suit. Tampax is made of pure, genuine
surgical cotton; contains no paper. Tampax is
extremely efficient in its protection; it allows
no odor to form. Each individual Tampax is
hygienically sealed in patented applicator—
quite unlike any other product. No disposal
problems.
Buy Tampax at drug stores and notion coun-
ters. Two sizes: Tampax and junior Tampax.
Month's supply 35c1. Introductory package,
20C. As much as 25rc saved by purchasing
lar>:e economy package of 40.
"A month's supply will go
into an ordinary purse"
Accept i J for ail i c rtisittg by
the Journal of tin- Anuri-
lan Mutual Association
TAMPAX INrORKlRATTD
' cw Jersey
Send ,c with full '
doted is 20t* (tamps or coins). Size is checked below.
G Tampax □ Junior Tampax
Add,,,,.
Cuj .
Suit-
on with their The 'better or
uise might ji. 1 be
dropped out of the Hollywood mai
lony.
I wouldn't mind having a wife who
worked, so long M she kept a HI
irtion about it and > • i her
tin- one enduring fact of our
But nobody in Hollywood
thai way about it. The
Important thing there, to which every
other interest must be sacrificed, is a
moving-pictui i
"Give me a wife from Boston or New
York or Kank.ikee. Illinois, or I
OB. But don't try to talk me into
paying court to any girl from Holly-
wood, California. They're poison in the
home."
Well, this young man spoke for him-
self and for a large percentage of the
bachelors polled. Idealists — perhaps
the best husband-material that there is
— do not trust girls who have grown up
in the free-and-easy atmosphere of the
studios. They would much rather find
a wife who has never blinked under a
klieg light. And that, fortunately for
us, takes in most of the marriageable
women in America.
So men don't want to marry Holly-
wood actresses. Their reasons for shy-
ing away from them are sometimes in-
genious in their variety. Take, for ex-
ample, the objection voiced by a fine,
athletic husband-to-be-from the Senior
class of one of the Big Three colleges.
"Marry a star — dear heavens, no!" he
said. "It's bad enough to have one per- ■
son in a household worrying about
money and contacts and office politics.
But to have two of them doing it — no,
thank you, that's fatal. Earning a liv-
ing is a pretty hardening experience.
It breaks down your faith in human
nature, at some stage of the game, and
it calls for a certain brutality when the
competition becomes keen.
"A man may be able to survive the
process and remain a human being, say
two times out of five. A career-woman
can, just conceivably, turn the trick:
I'd say her chances were one out of
ten. But put two people on the make
into the same home and your percent-
ages are low. At least one of you is
going to become brittle, hard-boiled
and unlovable.
"I'd rather take my chances on a girl
who wouldn't be worth five dollars a
week to any employer in the world.
She'd be feminine, and she might keep
me from turning into a sour old mis-
anthrope."
I HEN there is Mr. X, whose blond
good looks recall the Vikings. He has
a nice medical practice in a small-sized
town. His abhorrence of the idea of
marrying a movie star — in which he
yields to no one — is based on the fact
that few actresses wish to have chil-
dren of their own.
"I know about Margaret Sullavan
and Joan Blondell," he said, "and I
suppose there are a few others like
them, who are willing to risk their fig-
ures and to miss their salary checks
while they take time out for mother-
hood. But that point of view is
scarcely typical of Hollywood. Most of
the stars who have children at all get
them from a fancy orphanage in Chi-
cago.
"This is deeply indicative of the
whole Hollywood state of mind. These
woman are money-mad and celebrity-
mad and they will sacrifice their desire
for children to their manias.
"Well, motherhood is perhaps the
strongest instinct that a woman has. If
she'll toss that overboard for her ca-
reer, what chance for surviving has her
love for her husband?
"No Hollywood wife for me!"
Then there was the engaging young
man who earns his living as — of all
things — an actor, on Broadway.
"I know," he said, "what a tough job
it is to keep your emotions honest in
the theater. After you've acted a Great
Lover role anything you say to your
girl, in private life, has a phony, theat-
rical ring. I can't tell any woman, 'I
love you,' because the words have come
to mean the climax of a heavy role
to me and that is all.
"Well, with hard work and by watch-
ing myself, I can manage to forget I'm
an actor most of the time in private life.
I hope, some day, to be able to feel a
perfectly sincere emotion for a girl and
to express it without thinking about
turning my profile toward the spotlight.
But if she were an actress, too, heaven
help us both! We'd never get beyond
the technicalities of love-making be-
hind the footlights and we'd be con-
tinually scrapping for the center of the
stage.
"I want to marry a girl who has
never had a part even in a high-school
play. Perhaps, then, her emotions
would be natural and unspoiled."
Did all the men interviewed shy away,
with repugnance, from the idea of mar-
rying a star? No, not quite all. Two
of the bachelors said that they would
have no objection to placing a wedding
ring on the finger of the most glamor-
ous, famous, $5,000 a week actress in
the industry. But — and here's the catch!
— both of them said they would insist
that their wives should immediately
abandon their careers.
Why?
"Because I don't believe a marriage
can be happy when the wife's success
overshadows the husband's," said one.
"Because I don't want my wife to be
seen in emotional undress by any Tom,
Dick or Harry with half a dollar to
spend. I want her charms reserved for
me alone," said the other.
These men, and the school they rep-
resent, might conceivably woo one of
the glamour girls of the screen. But —
cheer up — it's unlikely that the condi-
tions they lay down would be accepted.
For all practical purposes, they are still
in circulation so far as the rest of us
are concerned.
uO perhaps we aren't missing so much,
after all. when we sit in the gloom of
the darkened theater with our six-dollar,
permanent waves and our thirteen-dol-
lar frock and think, "If I had her money
and her fame, I'd bring Harry to his feet,
all right."
If Harry is at all like the majority
of eligible American men, a Hollywood
income and a Hollywood career would
make him run like a frightened rabbit.
Moving-picture stardom has a lot of
things to recommend it — but it doesn't
include the ability to marry the nicest
bachelors in America today.
What these marriageable young men
want in a wife is obscurity and not too
much beauty; an income smaller than
their salaries and a willingness to let
them battle the world for two; a desire
to have babies and a point of view
which puts marriage first. By this
measuring stick, a girl may go to work
in an office or a hospital, a factory or
a department store, and attract the
men in droves. But she can't take up a
Hollywood career!
The Great Autograph Conspiracy
I got Pops' boy to serve it on her just
as she was leaving school. Had consul-
tation with Pops. He refuses to handle
my case on acc't of it's out of his par-
ticular field of law.
LlFE is full of Fate. Last Thursday on
my way home I stopped to gaze in-
tently in the window of the Gotham
Book Mart because there was a mirror
there. Suddenly I became conscious of
a Stranger gazing in also, but he was
looking at the books. When I looked it
wasn't a stranger at all but- Basil Rath-
bone! My first thought was of Barbara.
I wanted to phone her but of course
wouldn't risk losing him. I watched
him through the mirror and something
caught his eye. but it wasn't me, it was
a book, and he went inside. I followed.
The shop was full of books and he
browsed, so I pretended to browse,
kicking myself for not having my
album with me. The girl in the shop
seemed to know him and they talked
;i a certain book. It wa< rather
deep and I understood everything but
the meaning, but I tried to remember
(Continued jrom page 29)
every word for poor Barb who would
give ten years of her life to be in my
sandals.
He was rather attractive and not
at all villainish, but I wouldn't al-
low myself to have, any feelings for
him other than platonic on acc't of him
being my best friend's ex-pash.
He bought some books and while the
girl was wrapping them up I seized
opportunity by the forelegs and said;
"Pardon me, Mr. Rathbone. but I feel
as if I knew you intimately.''
"That's very nice of you." he said. "I
know I've seen your face somewhere."
His voice was sort of deep and his-
torical, or rather histrionic.
"You have." I said, "out at Belmont
Park, at the World's Fair, outside of the
Warwick and the Algonquin, theaters,
National Broadcasting Company. In
fact my chum and I have been follow-
ing you around for a week."
"Your devotion is touching," he said.
"I'm embarrassed."
"I'm not devoted," I told him, be-
cause I didn't want him to get any false
ideas. "It's my chum Barbara Drew.
She has a weakness for villains. I've
tried to cure her but it's no use."
The girl came with the books.
"I suppose you want my signature,"
he said.
"I have it three times," I admitted,
"but I can always use another. But
if you don't mind, could I introduce
Barbara to you? It might dissillusion
her and then she would be cured. Even
if it doesn't, it will make her so happy
as you are one of her ex-grand pashes."
"It's awfully nice of her to still take
a kindly interest in me," he said, rather
sadly. I thought.
"Some fans are fickle. When they
are through with a star they cast him
aside like a worn-out glove. But not
me and Barb."
"I'm leaving for Boston. You'll have
to make it soon."
"Immediately, if I can get her," I
suggested.
"No. Let's say Monday for tea at my
hotel at 4:30. Is that all right?"
"It's wonderful," I said, "and thank
you so much."
He left and I took a taxi up to Barb's
86
PHOTOPLAY
for which I made her pay half because
I knew she'd consider it worth it to
hear every word before I forgot it. We
discussed the whole situation and I re-
minded her that his wife, Ouida Ber-
gere, would probably be there, so not
to get too het up about him, because at
best he was a married man.
When I got home, which was late for
dinner, there was a document in a blue
cover waiting for me. As follows:
STATE OF NEW YORK }
COUNTY OF NEW YORK j
NUTS
SS
L. S.
Which goes to show what type she is.
Barb and I had a conference about
means and ways. Hit on a plan. Gave
ourselves names. I'm First Conspirator
and she's Second Conspirator. Going
to get Basil for Third Conspirator. It's
from Shakespeare.
Bought black suede album, had
Vera's own signature in gold put on
cover. Got signature by stealing one
of her exam papers. Were her answers
dumb!
Got three new ten dollar bills from
bank.
Invited V. to come to Basil's for tea.
Told her 5:30 so I'll have a chance to
explain to him. She was surprised in
view of our pending litigation.
uAME Monday. Barb, cut Latin, Hist,
and gym for a shampoo, set and mani-
cure. Fair exchange. We had to take
taxi as her heels were unwalkable in.
We sailed into the Warwick and the tall
doorman tried to stop us as usual, but
I told him with hauteur and an English
accent that Mr. Rathbone was expect-
ing us for tea. He looked at me in
doubt, but phoned up. Then he came
out and held the door open and it was
the most triumphant moment of my
life. Some day I hope to be able to do
the same to the doorman at the Algon-
quin.
Barb was nearly passing out partly
on acc't she had on her girdle, but
I rang the bell boldly. A maid dressed
like in a first act opened the door and
ushered us in to a salon and there he
was. Also his wife and Ellen Drew and
a man who turned out to be a Mr.
Smith, but was somebody neverthe-
less.
I introduced him to Barb who was
so flustered she went back to her first
childhood and courteseyed. Then he
introduced us around and the maid
passed chocolate and the most mar-
velous pastry which poor Barb was
afraid to eat on acc't her girdle was
so tight she was afraid of getting hic-
coughs. They talked dialogue and we
listened to every word and it was
wonderful sitting there instead of stand-
ing down at the door. Soon Ellen Drew
and Mr. Smith left and I breathed a
sigh of relief (Barb, couldn't) as it was
after five and I would have to explain
a lot before Vera arrived. So I began
without more ado. In fact without any:
"Mr. Rathbone," I said in my lowest
register, "we have both proven to you
our devotion and loyalty. We have fol-
lowed you to the races, to the World's
Fair grounds, to the broadcasting
studio. We have stood for hours in the
rain outside of hotels and theaters. The
time has come when you can show
your appreciation."
"Shall I leave you two alone?" asked
the Mrs.
"It won't be necessary," I said. "It's
nothing sexy so you might as well
hear."
"Wait till I light a cigarette," said
Basil.
So I told them the story of how I had
needed $25 desperately and had sold
my album full of autographs which I
had worked like a Trojan horse to col-
lect. I explained that Vera was not a
true fan but a diletante who never got
her feet wet or missed a meal for a
signature.
"Besides," Barb added, "she's pro-
miscuous."
Mr. and Mrs. Rathbone looked at
each other.
"What do you mean?" asked Basil.
Imagine a man of his education not
knowing what the word meant!
"I mean she's not particular whose
autograph she takes. Jane and I are
more exclusive. Everybody can't get
into our albums."
Then I showed him the papers in the
case which he read and passed on to'
Ouida.
"What role do I play?" he asked.
"You are the Third Conspirator," I
told him. "When she asks you to sign
her album you take all our books into
the other room and get them mixed up
which is perfectly natural because the
one she has, has my name on several
pages, and this new one has her name
on the cover."
"That wouldn't be strictly honor-
able," he protested.
"A man who has played Pontius
Pilate, to say nothing of Louis XI
shouldn't stick at a minor villainy."
Then Ouida spoke. "I think you
might manage, Basil. . . ."
"Darling, how can you suggest such a
thing? Impossible."
At that moment the maid announced
"Miss Bailey" and in came Vera, book
in hand. I introduced her and she was
all flustered, not being accustomed to
being on a social equality with the
great. She- gave him the album and he
started looking through it. Ouida ex-
cused herself. In a few minutes she
was back.
"Darling," she said, "a photographer
from the World Telegram is here and
wants to take your picture. He'd like
a couple of fans in it."
"All right, show him in."
"He's gone up to the roof, the light is
better. I told him you'd be up. Take
a couple of the girls with you. Jane,
perhaps you'd stay and help me with
these dishes."
Naturally I couldn't refuse though it
burned me up that Vera should get
into the picture and not me.
They left and I started putting the
cups together.
"Perhaps you hadn't better bother
about that, Jane. The maid'll do it.
You'll be late for that appointment.
Stupid of me to have kept you so long."
"What appointment?"
Was I dumb!
She looked at me and then at Vera's
album which was on the table. "Didn't
you say you had an appointment? I
could have sworn it was you."
Suddenly I woke up like a fire-
cracker. I picked up Vera's book.
"I'll make your excuses," she said.
She was fixing some flowers at the
window and not looking.
"You're an angel," I said. "I hope
he won't be angry at you. . . ."
"He'll get over it."
"Before I go, would you sign my
album?" I asked.
"I am honored," she said, and she
meant it. She wrote something quickly
and I started for the door.
"Lucky that photographer happened
to come," I said.
"Photographer? What photographer?"
she asked. "Are you here yet?"
I grabbed my book and exited.
I said I'd get that book back by hook
or crook and no one can say I didn't
try hook.
I didn't look at what she wrote until
I was on the bus. It said: To Jane:
Ouida Bergere
(Third Conspirator)
AFTER HOURS OUT OF DOORS"
says ^/j&d j3te&A S/HrtZfwxatt,
POND'S VANISHING CREAM
GETS RID OF LITTLE
ROUGHNESSES AT ONCE.
I LIKE IT BETTER THAN
EVER NOW IT HAS
"SKIN-VITAMIN' IN IT
*7lte lady Pabucia Qie+tcli Lgf
daughter of the Earl of Ypres, is keen about sports. Her home is in
Surrey, where she spends much time playing tennis, riding, swimming.
FAMOUS POWDER
BASE NOW BRINGS
EXTRA
"SKIN-VITAMIN
JO YOUR SKIN*
u
Members of British aristocracy, like
women everywhere, have long praised
Pond's \ ani-hing Cream. Nc>« it con-
tains the "akin-vitamm, they're eren
more enthusiastic about this grand
powder base, Skin that lacks \ itarnin A
becomes rough and dry. But when this
"-kin-vitamin" Lsresti >red. it help- make
skin -oft again. I se before powder and
overnight. Same jar-, labels, pri
^Suirmcnta concerning the rffrctn of the •>kin-»itamin" applied to Ihr .kin are baaed upon
medical literature and teala on the akin of animala fallowing an accepted laboratory method.
CowngM. 1SS9. Pood't Li'-i t
MAY, 1939
87
IVrs|»iraf ion Odor
I Ik* oilier
We Cover the Studios
|H'|-s«»ll
I > l< I ■ i ■ I « i. llip nrw cream deodorant,
and approved by tl •
Institul National
on '■! 1'.' i- and Cleaners as
*■■ i n..i dbi i r in j\«
- U I - . unailullrralvd crram.
VON I II II II »TIN«. — K..B iif hi allrt >h**iag.
I I ► \ I. LAHTINI ahllfl ■lldpufl od..it.
i\-n\m i i i i < i i\ i . Mil i.iiii«>.
Ill o
Uri-ltfir
I ii-i n it I - II. it
ctu-
STOPS I'FHNI'I H ATION
•topi perspiration odor
Clear, Soothe
I TIRED EYES
in Seconds!
Only TWO DROPS of this eye specialist's
formula are needed to SOOTHE and
REFRESH dull, tired eyes ... Its special
EXCLUSIVE ingredient quickly CLEARS eyes
red and inflamed *(from late hours,
fatigue, driving, overindulgence, etc.).
Thousands prefer stainless, sanitary,
safe EYE-CENE. because it is so quickly
EFFECTIVE in making EVES FEEL COOD. WASH
your eyes with EYE-CENE today. Sold
at drug, department, ten-cent stores.
YOUR "LOOKS"
USE
EYEGENE
F.iiuil M.h Donald of the Canadian
Mounted and getting all mixed up In
n fights,
tt'l the Indian angle that has Shirley
Intrigued. One of the reasons is that
the studio Miit up to a Blackioot Indian
tribe In '..:. mnal Park and .spir-
ited thirteen-year-old Martin Good-
rider down to teach her how to smoke
a pipe and play hit squaw.
Shirley is a little old-fashioned dream
in gingham with black cotton stockings,
high-button shoes and an enormous
feather sticking out of her curls as she
trots through a scene with MacDonald.
In the scene, MacDonald hands her a
little red leather jacket he is supposed
to have had made for her and Shirley
takes it and runs off. They do the scene
twice. Each time Shirley frowns.
"Excuse me," she says at last to Di-
rector Walter Lang. "I don't think this
is a polite scene."
"Why not, Shirley?" inquires Lang.
"Well," says Shirley, "if anybody
gives you anything, you say 'Thank
you." But Mr. MacDonald gives me a
nice leather coat and I don't say any-
thing. It's not polite."
And a little child is getting them told
as we leave. The script girl is writing
new dialogue in the script— dialogue
that Darryl Zanuck will probably never
have a chance to okay, and by a scenar-
ist he probably doesn't know he has on
the payroll — Shirley Temple. The new
line is, "Thank you, very much."
nE find small fry mixing up with the
picture business a little less construc-
tively on the next set we visit. It's at
Universal where Bing Crosby, playing
hooky from Paramount, is boo-boo-
booing through "East Side of Heaven,"
along with Joan Blondell, Mischa Auer,
Irene Hervey and other hired help.
In this one, taxi driver Bing takes
care of an infant left in his cab, aided
and abetted by Joan Blondell. The com-
bine serves to soften up the hard heart
of an old man and bring a young couple
in love together, as Bing sings and nicks
fenders all over Manhattan.
"I know I am a chump to work with
a baby," Bing grins to us — "but ain't
'he' cute?" Yes, he is — in this case, he
happens to be Sandy Henville, an
eleven-month-old girl who is playing a
baby boy.
From Universal to Warners where
sinister goings-on hold the center of the
stage.
What's it all about, we want to know
at once. "Sh-h-h-h-h" is our only an-
swer. However, we persist and finally
one fearless soul tells us that "Confes-
sions of a Nazi Spy," the dynamite pic-
ture, is making everyone on the lot
jump at small noises.
Of course, we want to know how
come, but all we can tell you is that for
the first time in our ken, a studio is
actually making a picture under wraps.
No one can go on the set — not even ex-
ecutives. No one can read a script.
Only ten instead of the usual 150 were
printed. They even tried to keep the
cast — Edward G. Robinson, Francis
Lederer, Paul Lukas and Lya Lys — a
'. but it leaked out.
Why? Well, it seems that there have
been certain protests and reprisals. No
punches will be pulled in "Confessions
of a Nazi Spy" — and though nobody is
named. Hitler. Goebbels. Goering and all
the rest are plainly portrayed. Already
there has been sabotage on the set.
Warners actually fear for the safety of
certain actors' families and others con-
(Continued from page 65)
nected with the picture. That's one of
the reasons; the other is that the expose
nal and they want to cash in
on the sensation.
"Each Dawn I Die" is the current
Warner Brothers morbid-movie in the
make. The star — Cagney, of course.
Only this time, Jimmy gets a little ace
co-operation from George Raft, doing
his first picture away from home since
he and Paramount called it quits.
HE stick around to watch Jimmy do a
couple of locksteps but — well, maybe
you like prison pictures — we don't! No
sir! It seems good to get out in the
sunshine and over to the feather-
headed Gracie Allen at Paramount.
Even Grade's mixed up in a crime
wave, though — in "The Gracie Allen
Murder Case."
We're a little surprised to find George
Burns on the set when we arrive.
George isn't in the picture. For the first
time in their long and lucrative career,
Gracie is going this one alone — not ex-
actly alone — Warren William, Kent Tay-
lor, Ellen Drew and a few others are in
the picture too, but George is definitely
on the sidelines. Can it be the start of
a professional split? We don't think so.
They shoot murder mysteries fast at
Paramount. Before we have been on
the set ten minutes a couple of scenes
are in "the can." Gracie never misses —
and when she does, you might know the
mistake would be funny.
She has a line, "I guess I must be just
a butterfly." But she says, "I guess I
must be just a butter-/leo."
When everybody laughs at her, Gracie
joins in. She's not proud.
A minute later, her tongue gets going
too fast and the sound man cuts in. "An
overlap," he reports. An overlap is
when two actors talk at once and you
can't hear either of them on the sound
track.
"Gracie," says the sound man,
"jumped in too quick."
"Of course," says Gracie. "Last one
in's a niggerbaby! Ha-ha."
"Gracie!" protests George.
"Are there visitors on the set?" Gracie
wants to know airily. George sputters.
LEE TRACY is back making pictures
after too long an absence, so we hurry
over to RKO to catch Lee in "What's
a Fixer For?" Well — what is a fixer
for? We'll bite. Our guide tells us a
fixer is a circus fellow who fast talks
the local yokels. In that case, we'd say
Lee Tracy was a cinch for the part.
The set we visit is rank and smelly.
Straw and the raw odor of caged lions
pervades it. Lee, looking trim and chip-
per as usual, and Peggy Shannon, in a
gold-braided lion tamer's costume that
almost matches her flaming hair, greet
us, but we haven't even time to say
"hello" before an animal trainer cups
his hands and yells — "Okay, shall I let
'em loose?" Let what loose, we ask.
"The lions," says the trainer. "They're
gonna run around loose in this scene.
They won't hurt you. They're nice and
gentle like kittens. Stick around. . . ."
We don't even hear the rest. We have
already made tracks out of there. Lions
are lions to us — not kittens. No indeed!
We tell Lee we'll see him later and head
for M-G-M where they keep their lions
on film only.
M-G-M is smack in the middle of its
busiest season, with "Maiden Voyage,"
"Lucky Night" and "Penthouse" on the
brand new list.
Annabella makes "Maiden Voyage" a
stop. It's her first picture since "Suez"
and since she took that South American
junket and fell for Tyrone Power. All
we can say is that she doesn't look a
bit different — only a little scared. Anna-
bella explains, in her rapidly improv-
ing English, that she has to sing a song
in this one and heaven knows what will
happen when she tries it. Bunches of
roses in her dressing room from Ty
Power, we notice, are helping her con-
quer her fears.
"Penthouse" is frankly a remake of
the picture that first made Myrna Loy
a star. Myrna and Warner Baxter did
the original. Except for modernized
dialogue, the same script now serves
Virginia Bruce and Walter Pidgeon. We
pass it up to get a good look at "Lucky
Night" before the company's sent home
for supper.
Robert Taylor gets a new crack at
fame in "Lucky Night." It's comedy,
and the very first he's tried. We hear
an underground whisper around
M-G-M that Bob will no longer have to
flex his muscles and bare his chest to
prove he's a he-man, which is some-
thing of a relief, we'd say. Lucky Bob
is, too, that in "Lucky Night" he has as
experienced and helpful a co-star as
Myrna Loy.
wROSSING from the movie studios to
Radio City this month is like dodging
through No-Man's Land. The battle is
on for all the big star talent of Holly-
wood and the man who fired the first
shot is Darryl F. Zanuck of Twentieth
Century-Fox, the man, oddly enough,
who first married movies and radio.
Are the movie stars to remain on the
air, or will the studios ban them from
now on, saving them for pictures only?
That's the burning question along Radio
Row right now. It looks as though they'll
fight it out if it takes all summer.
Our inside Radio operatives tell us at
once that it's a great deal to do about
a whole lot of nothing. Zanuck pulled
Tyrone Power off the Woodbury Play-
house— but, a rumor persists that Ty,
himself, had already quit.
At any rate, it is true that Metro-
Goldwyn-Mayer draws its big army of
star talent out of "Good News" the last
of June — and for keeps. That means
Frank Morgan, Bob Young, Bob Taylor,
and all the big guest stars, Tracy, Craw-
ford, Gable, Shearer and the rest. All
but Fannie Brice. What a break for
Fannie that M-G-M didn't take up her
option a few months ago! Her "Baby
Snooks" over the air is a far better
break than the movies ever gave her.
We talked to Bob Young about the
whole situation and he sang the blues,
long and loud. He likes radio. So do
practically all of the Hollywood stars
who have anything to do with air shows.
Many of them started in radio — Bing
Crosby, for instance, and Don Ameche,
and Dorothy Lamour. If Darryl Za-
nuck takes Don Ameche off the Chase
and Sanborn hour, as he wants to, what
will he say to Don one day when his
picture days are over, and his radio
career lost?
The real trouble began because of the
movie-star Sunday program set-up,
with its elaborate "The Circle" and "The
Screen Actors' Guild" programs. Why
go to a movie on Sunday — the biggest
day in a theater-owner's week?
So — the movies and radio lock horns
and the battle rages. Our hunch is that
the picture studios will lose. Screen
stars like radio and radio likes them —
and that's that.
88
PHOTOPLAY
Portrait of a Man Who Has What He Wants
(Continued from page 32)
control," he says. He hates red nail pol-
ish.
He is slow to criticize others.
He likes six-day bicycle races.
He does not think happiness and suc-
cess are synonymous, and his favorite
among biographies is "The Life of Ma-
gellan."
He owns eight acres in San Fernando
Valley where he has dogs, goats, chick-
ens, turkeys, ducks and two Shetland
ponies for his children. He is utterly
lacking in ostentation.
He smiles easily and it covers his
broad face.
His mother is of American Colonial
stock, and his hair is dark brown and
unruly. He has a lively sense of humor.
His favorite meals consist of steaks
or lamb chops.
HE was named after his mother's dear-
est friend, Daisy Spencer, and he has
no aversion to caged birds in homes.
He wears no jewelry.
He owns six Irish setters.
He likes attending concerts.
He abhorred school so much that he
barely achieved passing marks. He is
naturally blunt and outspoken but he
curbs these tendencies by an overcau-
tiousness.
He is five feet, ten inches tall, and
when he was seven years old he ran
away from home and was found with
two youngsters named Mousie and Rat-
tie, both sons of a saloonkeeper.
He is addicted to cold showers.
He rises every morning at six-thirty.
Spencer Tracy is not sure that he
would have made good in anything but
acting.
He gets no fun out of indoor games,
and his favorite breakfast consists of
coffee, toast, scrambled eggs and bacon.
He dislikes giving parties or having
a lot of people around him. His wife
owns two race horses, and he often ex-
perienced stage fright in his theater
days.
The subject of history interested him
the most at school.
He likes Hawaiian music, and has no
preference among restaurants of vari-
ous nationalities.
He has considerable doubt regarding
the cultural contribution of the radio.
He likes playing polo with his wife,
who plays even better than he does.
He does not like picnicking.
He has no hope that the world will
ever, at some remote date, become
wholly democratic.
He is especially fond of chocolate ice
cream.
He thinks Hollywood's policy of
avoiding controversial subjects a good
one. He never goes in for winter
sports.
He likes artichokes and candy, and
never whistles.
He is constantly postponing writing
letters.
He dislikes intensely wearing dress
clothes.
I HE star of "Boys Town" is not impul-
sive, he has never had a nickname, and
he shaves with a safety razor. He and
his wife never discuss politics.
He devoured fairy tales as a boy, and
he considers his earliest screen appear-
ances as his worst.
He was in the third year at high
school when he tried to enlist in the
marines during the World War. His
lie about his age — seventeen — found
him out and eventually he found him-
self in the navy.
He does not like kidney pie, and he
had no outstanding athletic accomplish-
ments at school.
He has been cited for more awards
and honors than any other male actor
on the screen. He does not like cats.
His favorite American author is Mark
Twain.
He does not mind dining alone.
He values most the debating experi-
ence he got in college which gave him
his confidence and ease in front of an
audience.
He is very punctual.
He does not indulge in any kind of
alcoholic drink, whether mild or strong.
He likes potted flowers around his
home.
He is easily depressed.
He is fond of Swiss cheese.
I HE man who stole "San Francisco"
right from under the eyes of Clark
Gable and Jeanette MacDonald has no
aversion to eating at drugstore coun-
ters. He never wears a boutonniere.
He likes everything about his work
and about Hollywood.
He seldom catches cold and is never
bothered by dizzy heights. His wife
was an actress from the legitimate
stage. He is not gregarious.
His first professional job was at fif-
teen dollars a week in "R.U.R.," a The-
ater Guild production.
He gets genuine pleasure out of the
opera, though he attends it infrequently.
He has a good knowledge of the works
of Jack London.
He enjoys driving with the radio on.
He is not difficult to borrow money
from.
He never goes to baseball games,
wrestling matches or prize fights. He
is not particularly fond of listening to
any one singer.
He takes advice easily, and has never
read anything written by Karl Marx.
He is a good conversationalist.
He has always wanted to be an actor,
and he does not like an open fireplace
in his bedroom. He likes air travel.
He has been most impressed of recent
years by the book, "The Yearling," by
Marjorie Kinnan Rawlings.
He does not like to dance.
He does not like playing cards with
women. He has never been in Europe.
He welcomes advice, and is not es-
pecially impressed by any contempo-
rary figure. He never bets on games.
He attended various grammar schools
and finally won a diploma from St.
Rosa's, a parochial institution.
He is fond of clams and lobster, and
he gets no kick out of autograph
hounds. He rarely eats before retiring.
He has no plans for anything of ma-
jor interest when he eventually retires.
He does not like hunting.
He has never seen a World's Series
game.
He'd rather play polo than do most
anything, and he stays away from his
own previews.
He is not easily deceived by people,
and he has grave doubts whether hap-
piness can be achieved without money.
He is not given much to political or
philosophical argumentation. He would
rather travel in South and Central
America, if he could not play polo.
He never gets headaches, takes good
care of his personal effects, and is one
of few screen stars who has gone bath-
ing in midwinter in California.
His wife will never stop being an-
noyed by his six-thirty rising every
morning.
He makes no pretensions, and wants
nothing so much as to be let alone.
h\Im^4%^
S€e.-.Paramount> t- Mo>
PACIFIC." produced and
directed by Cecil B.D
Thrills — humor — path"*
romance. . .aSirrinj ctatflel
in the Sara of th.
Associate Producer of
Cecil B. DeMilU's
' I MON PACIFIC"
says: "One doesn't need a highly
developed sense of values to know-
that a Chicago to California trip
on the Challenger at $39.50 is a
real buy. One just couldr,
any better."
No use arguing with Mr. Pine — he's
right. The one way coach fare on the
Challenger, Chicago to the Pacific
Coast, is $39.50. Breakfast is 25 c,
luncheon 30c, dinner 35c. En route
you enjoy seven delicious meals in an
attractive dining car — making the
total traveling expense $41.55.
That's real economy! Besides, on
Challenger Coaches, seats are roomy,
deep-cushioned and reclining. There
are soft night lights, free pillows,
porter service. And there's a big saving
for Challenger Sleeping Car patrons:
The fare is low and berth rates are
about half that of Standard Pullmans.
Sleeping Car patrons have the use i f
a smart Lounge Car. Registered
Nurse-Stewardess service is available
to all passengers.
Going to the San Fran-
cisco World's Fair?
Go Challenger Jor
Economy and Comfort/
UNION PACIFIC RAILROAD
W. S. Basinger, Passenger Traffic Manager
Room 722, Union Pacific Railroad
Omaha, Nebraska
Please send me information about Challenger
service to
n in which you mxr if,t*rw«t«D
Name
Street -
City State
UNION PACIFIC SERVES
CalUtrtMiUL
"T&cUic JvcrvttuAfetZ
Ueluwitdne MaZicn^nvJt
MAY, 19 39
89
"IflJRB
FOR COMFORT
on trying days
• 1 iv woman should know about Kurb
Tablets — a worthy companion to other
lino;. acta We make no ex-
travagant claims, but tell you simply,
truthfully, why we believe you will want
to use Kurb.
sen discomfort caused by
menstruation, simple headaches or muscu-
lar pain, Kurb is a most effective aid for
trying days. The formula is plainly printed
on the box, so you may readily check it
with your own doctor. . . . We urge you to
try Kurb Tablets — see how quickly they
help you. The conve-
nient purse -size con-
tainer holds a full dozen,
tsonty 25 cents at
all drug counters.
FREE OFFER!
If vou act at once— we'll
send you a sample sup-
ply FREE! Simply send
your name and address,
to Kurb, Room
919 N. Michigan Ave
Chicago.
KURB
TABLETS
FOR WOMEN'S TRYING DAYS
GIVE YOUR LAZY LIVER
THIS GENTLE "NUDGE"
FOLLOW NOTED
DOCTORS ADVICE.
FEEL "TIP-TOP"
IN MORNING!
If livt- n't flow
frwly
in"'""' Ti and that
"half-alive" foaling often result.
So «•< t> up that livrr biln and we how much
try Dr. Edwards'
' I «o successfully for >■•
Dr. V. M.
with constipation and slugci.ih liver bile.
Made from purely rrgrtahlc inirrcdients —
I -mlttw, Tl •
stimulate bOs flow to help i foods,
but al.to help rln 0> TODAY.
Dr. Edwards' OLIVE TABLETS
■ t mo that hut." Joan said.
II. i' Vou mean my friend's 1
Imply Rot ti> own
th.it little clurry-trimmed number and
1 don't care how you git it for me."
Whan I Kit. the two of them were
planning to threaten the unsuspecting
ontance with deliberately contrib-
uting to Joan's sudden demise if she
didn't give up her hat
w Joan again a week or two later,
at her home. Very slowly she was
being assisted from her cot in the
len to her crutches for her long
painful trek into the house. With back
bent over and legs wobbly, she crept
along, in nightgown and dressing gown,
but if you think the coveted cherry-
DOVered hat wasn't sitting right on top
of her head while she tottered, you're
plain nutty.
Now for a secret! The fact that so
far pictures have failed to catch the
piquant comedy that is Joan's is not
half the blow to Joan as is the fact
that the camera has failed utterly to
catch her fair good looks. That is the
thing that really has her down.
"I don't get it," she sighs. "Unless
my mirror lies to me, I'm not bad
looking. But let me get one look at
that face on the screen and I'm sick
for a week."
Her good looks (that so please her
vanity, bless her heart!) are mainly a
matter of coloring. The life in her
auburn hair and blue eyes, the radiat-
ing animation of her whole being are
dimmed and lost on the screen. It's
the one and only thorn in the heart of
the funniest woman on the screen.
WEN like Joan Davis; in fact, I've yet
to meet the man who doesn't think
she's the swellest dame alive. When
many another star in the studio com-
missary may be dining alone, Joan is
literally surrounded with directors, ac-
tors, writers, producers and they never
leave off howling, from the tomato juice
cocktail to the cheesecake dessert.
I prowled around among her male
friends to find out why they prefer
Joan D. to Tootsie Beautiful at the next
table and I found out several things.
First, she has a way of making the
most trivial episode a howling event;
and secondly, she has a gift for topping
any story with a finishing line that can
cause masculine guffaws to be let loose
from the depths of abdomens with a
blast the like of which you've never
heard.
Men like to laugh. They remember
a good laugh long after they've for-
gotten a kiss. And there are so few
women to make them laugh in Holly-
wood, so many to kiss.
Contrary to the general belief that
professional comics are moody souls in
search of mildewed doldrums in which
to wallow up to the breastbone, Joan
is not serious minded. She is a woman
who gets a great kick out of life and,
by sheerest accident, has a funny way
of saying and doing things that sets
her apart. Oddly enough, although her
entire life from small childhood on has
been spent in the theater, she is the
theatrical person in Hollywood.
amc simple things that amuse and
please women from Bangor to Portland,
and amuse Joan Davis.
Her lemon pies are simply terrific.
Only her close family, however, know
of the lemon-pie side of heel-sliding
Joan. It's just that she doesn't think it
an accomplishment. According to Joan,
most every woman is a good cook and
Lady Clown
(Continued from page 25)
Joan Davis is most every woman.
Shortly after she married Si Wills,
her vaudeville partner, he decided they
should go out for an Italian dinner.
"Stay home, dear, and I'll cook you
an Italian dinner," she suggested.
He merely gave her a look ripe with
what he thought of her as an Italian
dinner cook, or any kind of a cook.
Neverthless, Joan went ahead with her
dinner and finally Si laid aside his pa-
per and said, "Come on. We'll go down
to Tony's."
"But look," Joan insisted, "it's on the
table."
"I'm sorry," Si insisted, "but I like
my Italian dinners Italian. I — " he
paused as a meat ball whiff went sailing
by his nose. "I — " he began again and
paused. Odors of rare sauces non-
chalantly sailed by, rendering him
speechless. Joan paid no heed but went
on bringing in the spaghetti and the
raviolis. Si edged over to the table and
took one look before sinking into his
chair with a sigh of utter satisfaction.
From that day on, he never ques-
tioned his wife's culinary ability.
JOAN lives in a powder-blue mosque
on Beverly Hills Avenue, far up in the
canyon. The rounded dome, the kind
that usually rears itself into Syrian
skylines, is beginning to peel. Who
cares? Certainly not the Si Wills fam-
ily. Haven't they got a swell empty
Campbell's soup can stuck on a tree
stump on the hillside behind the house
for a target? And haven't they got an
orange tree, lemon tree, lime tree, and
one of every other kind of fruit tree?
And haven't they a badminton court
and an unbelievable sofa cushion,
knitted by Joan's own hands? And. for
that matter, haven't they got a little girl
that — well, now, speaking of little girls,
I ask you.
Beverly is six, and, if possible, twice
as comical as her mother. Her rendi-
tion of the story, "The Pig that Wouldn't
Jump Over the Sty" must be heard to
be believed.
At a wedding recently, Beverly,
her two ears protruding between
her thin curls, was flower girl.
Something about her, as she tossed the
rose leaves in handfuls everywhere but
in the aisles, caught and tickled the
fancy of the audience.
I'm telling you by the time the bride
reached the altar the audience was
leaning on each other, crying for mercy.
The child is just that funny.
She'll say, without a breath in be-
tween:
"I'm Beverly Wills.
of Beverly Hills
I live on Beverly Drive
My mama's name is Joan
And my papa's name is Si."
At a recent church entertainment,
Beverly spoke her piece from the plat-
form and then, pausing on her way to
her seat, turned to the audience and
demanded:
"Did everyone here clap?"
Need I say she is now, after the wed-
ding episode, behind a movie camera.
I HERE is a side (yes, still another) to
this Joan Davis that, again, only her
close friends know. It's the "human
deer" side as they call it. She earned
thai "human deer" tag when at school
in St. Paul because she could outrun any
kid in school. She can outplay (or she
doesn't play at all) her friends at any
game they take up. She can outbad-
minton, outtennis, outswim, outcook the
best of them.
"She's the only woman whose money
I can cheerfully take after a card
game," a director told me. "She plays
a man's game, that one."
"Happy Hooligan" her friends call
her as she goes about, singing her
favorite, "I'm Confessing That I Love
you."
"Man, there's a song," she'll say, and
then she's off again on the "I'm Con-
fessing" business.
OEVERAL stars were discussing Joan,
trying to remember if they had even
once seen her in any one of Holly-
wood's many night spots.
They never had. But if they could
see her, just once, inside the Davis
mosque, they'd pay big money to get in.
It's there that Joan puts on her best
show. All her old vaudeville stunts —
the stuttering song, the heel sliding, the
blinking eyes — are brought out for Si
and Beverly and friends of vaudeville
days to laugh over. And then Si, who
is a great aid to Joan in her screen
comedy, will do his turn and finally
Beverly will do her imitation of mama
and dad.
Oh, yes, nights in this Bagdad shack
in Beverly Canyon are really some-
thing.
The sun will be shining of a morning
and Joan will emerge from the side
door to the lemon tree in the front
yard.
"Move over, caterpillar," she'll cau-
tion an insect in the grass, "we're
going to have lemon pie tonight." Pluck-
ing off a lemon, she'll disappear back
into the house and soon there will be a
beating and a stirring in the kitchen;
result, lemon pie for dinner.
"Let's go to California for our baby's
birth," Si suggested and in no time at
all they were on the boat through the
canal.
"Yes, and Joan won all the high div-
ing contests on the boat while I sat back
and felt maybe it was I having the baby,
after all," S} says, casting accusing yet
loving looks in Joan's direction.
Of course, the hour of the baby's ar-
rival came when no one was near.
Nothing daunted. Joan backed out the
old car, gathered herself and her pain
inside and was off for the hospital,
bumping along for dear life.
"Here," yelled one indignant driver
who got in her way, "I have the right
of way."
"Yeah," Joan called back to the road
hog, "but you can't have what I'm going
to have."
Joan's never satisfied with her work.
Can't bear to go to previews for fear
audiences won't laugh at her. And is,
of course, heartbroken over the way her
face comes out.
She's a sleepyhead when not working
and can easily sleep fourteen hours a
stretch.
Unless it's Sunday. On Sunday she's
up bright and early and, dressed in her
best (usually the classy hat with the
cherries), she's off to church. With
her goes Si and little Beverly. And the
little Wills family will bow their heads
in worship and it's then, with the sun-
light streaming through the stained
glass windows, that the brilliance of her
hair and eyes shine in the reflected
light.
Yes, it's then, at worship, Joan Davis
is really grand to see.
90
PHOTOPLAY
Blonde Beauty Grows Up
(Continued from page 34)
blocks away) . . . with hardly a thought
of California.
The trip, first planned as just a regu-
lar vacation jaunt, turned into an ex-
tended stay. Two years, three, then . . .
(during the War) a few public appear-
ances passing out programs at Red
Cross social functions midst Beverly
Hills' palm trees.
First thoughts of a new name
cropped up then in this new, exciting
atmosphere. A numerologist did the
final trick and Jane Alice Peters passed
out of the picture.
The next years, during the grooming
grind, Carole went through the stand-
ard process of building up that new
moniker. Drilling the final "e" into her
public and doing many strange stunts to
attract attention as a high-powered sex
exponent. Suddenly, the screwball era
fell into her lap . . . and Carole just as
suddenly found this release, as the ripe
moment actually to be herself. And
after all these years, too.
She'll trade you those slacks for her
new Banton concoction. Really, she's
always been a corking good sport!
Long Shot" MacMurray
(Continued from page 21)
name I cannot spell, and they live on
a couple of acres with a swimming
pool and tennis court and shooting
gallery and a neat, white house with
Early American furniture. He loved
this girl before he knew where he was
headed and the minute he had a few
bucks in the bank, he married her. She
was stricken with appendicitis shortly
after and when they got through fool-
ing around with her, you could have
bought her chances for a nickel.
But now she's well and that part of
Fred's life is at ease. For the rest, he
likes a few good friends and hunting
and fishing. He has hunted little more
than a year, but he is an excellent shot.
I took him on his first hunting trip, in
Northern California. This was for the
opening of the dove season and I had
him on edge many days before the trip.
But the day we started north he was
thoughtful and had none of the true
hunter's enthusiasm.
"What's the matter?" I asked, after I
had driven twenty miles listening to
myself talk.
"Lillian's doctor was over when I
left," he said.
"She's all right, isn't she?"
"Oh, sure."
'Then what?"
"He's a vegetarian," said Fred.
This annoyed me. "All right, he's a
vegetarian," I said. "So we can come
back and eat our doves while he nib-
bles at his carrots."
"That's not all," said Fred. "He's not
only a vegetarian — he raises doves as
From Des Moines, Iowa, by way
ofthestage, JoyHodges reached
Universal where she is playing
in "The Family Next Door"
pets. And I told him I was going dove
hunting."
That was bad. "What did he say?"
I asked.
"I'd rather not tell you." said Fred.
"I don't want to spoil your shoot."
"You can't spoil my shoot," I said.
"Not even when I tell you the part
about when you kill one dove — and its
mate finally dies of sadness?"
I gulped. Fred rubbed his eyes. "The
doctor said they're the most beautiful
and gentle birds in the world. They
borrow just enough grain from the
farmer to fill their little craws and they
wouldn't harm a living thing."
"Don't let him kid you," I said, after
a moment. "Don't ever listen to a vege-
tarian. Doves are mean. They eat the
farmer's grain and he has to mortgage
the farm and then he loses it. They
pick out children's eyes. I wouldn't
trust a dove any farther than I could
throw Mount Whitney."
Fred thought a while and then he got
himself into the spirit. "That's right,"
he said. "And they fly into windshields
of automobiles and the glass breaks and
gets into people's eyes."
"Now you're talking," I said.
I HE next day we hunted and Fred
picked up his first dove. He stroked its
feathers.
"It's sure pretty," he said slowly. "It
wouldn't harm a living thing." "Re-
member that grain," I said quickly.
"Remember those kids' eyes and those
windshields."
"That's right," said Fred, getting him-
self back into the mood.
Fred took his doves home, half proud
and half ashamed. His wife looked at
the doves and then at him. She wouldn't
eat them, but Fred secretly nibbled at
one. Quickly he ate two more. Then
his wife nibbled.
They have a new doctor now. He is
not a vegetarian. Honestly! He is a
young man who earned his way through
medical school trapping animals.
Fred's income has increased in star-
tling leaps. Wisely, he has entrusted
his business life to a competent manager
and so he does not see the money he
earns. Each week he receives a check
for forty dollars for personal expendi-
tures. I have been with him when as
many as ten of these checks have nes-
tled in his wallet.
The last time this happened I looked
at the checks and scratched my head.
"Can't you even spend forty dollars a
week on yourself?" I asked.
"Of course I can," said Fred, "but
who's going to buy my wife's Christmas
present?"
What can you say to a guy like that?
THERE IS NO AVERAGE WOMAN —
«,Jl ***** ** V '
Every woman is a law unto herself^
women's sanitary needs differ on
different days and what's best for
another woman isn't necessarily
right for you. But only you can tell
which type or combination meets
V your needs best . . . each day!
So Kotex* offers "All 4" types
of sanitary protection-
Regular Kotex* Sanitary Napkins
— in the familiar blue box.
Junior Kotex*— in the green box.
Somewhat narrower than Regular,
for days when less protection is
needed.
Super Kotex*— in the brown box.
No longer than Regular Kotex,
yet its extra absorbency provides
extra protection.
Fibs,* the Kotex Tampon — the
new invisible protection that's worn
internally} requires no pins or belt.
Only Fibs are Quilted for greater
safety — greater ease of insertion —
greater comfort in use. Recom-
mended for use on the final days,
particularly.
*Tt»dc M»rki Ret- U. S. Pil OS
\\&M W-
KOTEX IS MADE FOR YOU!
MAY, 1939
91
The Shadow Stage
(Continued from page 63)
fjji . .
yt/\\\- not discover how much lovelier your eyes can be? It's so easy when
Maybelline, the modern eye make-up in good taste. Remember
definite advantages —
Maybelline Mascara is harmless, tear-proof, non-smarting. It goes on
tifully — darkens your lashes to lone sweeping beauty that looks natural.
It never gums or stiffens the lashes but keeps them soft and lustro
The Maybelline smooth-marking Eyebrow Pencil is perfectly pointed and
just ii to form graceful, tapering contours. The ingredients are so
u iseven used by surgeons for marking the skin. All Maybelline Eye
ty Aids are approved by Good Housekeeping Bureau.
Try Maybelline Mascara and Eyebrow Pencil in matching shades, today,
and see how much lovelier your eyes cm be. Purse sizes at all 10c store's.
MayhrUin,* Solid-form
Rrfil!%
- Black,
liluc.
EYE BEAUTY AIDS
line Smooth-
in a r k i n r E :
Pencil Black, Brown,
(Blue for.;. , lid 1 1 ii. ii.
YOU Can Now Easily Make
^GRAYHAIR
JM PREPARATION
WAKE U P
AT HOME
YOUR
AT n big? saving In cost you can
**• make and apply In your own
borne a large, economical bottle of
on old, popular, gray hair prvpazm-
tion. Here's the money-saving
recipe. Get from your druggist
^one- fourth ounce glycerine, one
"ounce bay rum. one box BARBO
Compound. Mix in one-half pint of water, or your
:I mix for you for a few cents,
i:0 combed into the hair imparts n soft, lus-
trous, natural-looking color to gray, faded, streaked
hair. It is easy to use: does not wash out or rub off;
will not color the scalp or affect permancnts or
waves: is not sticky or greasy. Used: with satisfac-
ri by blonds and brunettes. Try
the economical BAitBO recipe today.
Without Calomel —
And You'll Jump LIVER
Out of Bed in the
Morning Rarin ' to Go
The liver should pour out two pounds of liquid
bile into your bowels daily. If this bile is not flow-
ing freely, your food doesn't digest. It just decays
in the bowl Is. G.ns bloats up your stomach. You
get constipated. Your whole system is poisoned
and you feci sour, sunk and the world looks punk.
A more bowel movement doesn't get at the cause.
Tt takes those good, old Carter's Little Liver Pills
t lusc two pounds of bile flowing freely and
make you feel "up and up." Harmless, gentle,
yet amazing in making bile flow freely. Ask for
Carters Little Liver Pills by name. 25c at all
I drug stores. Stubbornly refuse anything else.
Holdi powder and make up on
unlit removed. No note shine;
non greotv, waterproof. Achievei
a velvety, flattering completion
YOU CAN'T CHEAT AN HONEST MAN-
Universal
I HE new W. C. Fields-Bergen and
McCarthy feature is pretty funny, al-
though what it gives in comedy is bal-
anced by weakness in story and produc-
tion. There seems to be no end to the
gaga the team can evolve from any situ-
ation; wherefore to those who are in-
terested in laughter and don't care a
hang why they laugh, this is a Must.
Fields plays the boss of a down-at-the-
heels circus and carries the piece along
with his typical humor. Edgar Bergen
has added the Mortimer Snerd dummy
to Charlie but, although the stuff is
good, you may find you expected more
in the way of ventriloquism.
* WIFE, HUSBAND AND FRIEND-
20th Century-Fox
WARNER BAXTER needed a good pic-
ture and he has it in this — a blend of
comedy, burlesque, music and a certain
amount of drama. In James Cain's
story. Baxter is a contractor who has
married socialite Loretta Young. She
and her mother, Helen Westley. both
have a yen to be singers, which causes
domestic friction. Warner meets a fa-
mous opera star, played by Binnie
Barnes. Binnie tells him it is he who
has a great voice and asks him to go on
a tour with her. His business is shot
and so he goes, for the money. Mean-
while, Loretta flops miserably in her
own try at a career. You can imagine
the climax, when she finds out what her
husband has been doing. Baxter digs
out every bit of his famous charm; Miss
Young is quite beautiful: and the rest
of the cast deliver well. Gregory Ratoff
directed.
THE ADVENTURES OF HUCKLEBERRY FINN
-M-G-M
IT'S a shame that Mark Twain's great
classic of boyhood, "Huckleberry Finn,"
should have received such unhappy
treatment from Hollywood. Especially
since Mickey Rooney is starred; he is
given almost no chance to display his
superlative talent and none of the spirit
of the story is caught for the celluloid.
What liberties have been taken with the
original yarn are excusable but nothing
else about the picture is. If you loved
Huckleberry, and if you are a Rooney
fan, skip this — it will save embarrass-
ment all around.
TWELVE CROWDED HOURS— RKO-Radio
I HE Richard Dix of the great "Cimar-
ron" is lost in this role. He plays a
newspaper reporter who helps out a pal
when murder is done. The story is
well-knit, there is comedy and action
and suspense; but these things can be
said of many inexpensive little pictures.
It is somehow a sad thing to watch Dix
dashing around in such a piece — par-
tieularly if you arc getting sick and tired
of the newspaper-reporter-versus-thc-
rackets idea. Lucille Ball is Dix's
sweetie and Allan Lane also runs.
WINNER TAKE ALI 20th Century-Fox
lOU still can't expect too much histri-
onic talent from Tony Martin — he's a
r anyway — but he isn't bad in this.
Cast as a fighter whose name has been
built up in fixed battles, he carries the
fortunes of Henry Armetta in his gloves
because Henry is treasurer for the "Sons
of Garibaldi" and bets everything on
him. Armetta lifts the little film to bet-
ter than average levels and you will find
it adequate as something to sit through
while awaiting the other feature. Gloria
Stuart is romantic interest.
I WAS A CONVICT-Republic
nEALLY. the publicity convicts have
been getting from Hollywood lately! —
it's still a moot point whether messages
about social reform constitute entertain-
ment people will pay to see. Especially
when the presentation is dull. This one
will put you in a stupor. Barton Mac-
Lane, Beverly Roberts, Clarence Kolb
and Horace MacMahon are the main
ones in the cast and they're obviously
bored with what they are asked to do.
FAST AND LOOSE-M-G-M
IHE THIN MAN" started a vogue in
murder mysteries which will probably
go on for years. Here's another fashion-
able little number, with Bob Montgom-
ery and Rosalind Russell playing the
Powell -Loy roles. The sudden-death
this time happens in the huge home of
a millionaire who collects rare books;
Bob and Rosalind are among the sus-
pects but work like beavers to show up
the guilty party. You may be annoyed
at the ease with which you can select
whodunit, even at the beginning.
LET US LIVE-Columbia
nHEN you read the story of a murder
trial you invariably think: "This could
never happen to me." But it might,
even if you are innocent of any crime.
For the vicarious experience, see this
emotionally exhausting film in which
Henry Fonda, innocent bystander, is
picked up by the police, identified by
hysterical witnesses, and convicted. It
is an indictment of one phase of social
justice. Maureen O'Sullivan plays the
girl who sees Fonda through his trouble;
he does a splendid job of portraying an
ordinary mortal who gradually goes to
pieces under the strain of a seemingly
malignant fate.
THE LADY AND THE MOB— Columbia
WHILE it seems a little strange that
Columbia has given Academy Winner
Fay Bainter this role in a semihumorous
story in which the plot often passes the
bounds of credulity, still, as the Acad-
emy voters knew, Miss Bainter is equal
to anything. She manages to play Mrs.
Leonard, a rich eccentric who owns the
town bank, with a light yet dignified
touch and really makes you believe in
her brand of Americanism which is that
a fearless citizen prefers death to bond-
age.
Finding, for one thing, that her clean-
ing bills are mounting, she discovers
that big-time racketeers have moved in
and, with customary highhandedness,
she determines to clean them out when
the mayor refuses responsibility. She
hires a band of mugs and supervises
their activities, even to the extent of
practically manning their machine guns!
She finds herself in some pretty tough
situations, but accomplishes her aims
with surprising results.
Lee Bowman, who plays Fay's son,
and Ida Lupino furnish a mild romantic
interest.
92
PHOTOPLAY
Fashion Letter
(Continued from page 70)
many dresses and, strangely enough,
will frequently be teamed with net in
the late afternoon.
Jewelry is heavy and has a somewhat
Oriental feeling. It belongs at the top
of the silhouette this year — that is, at
neck and ears. Those short haircuts
won't hold many heavy ornaments.
Bette Davis will doubtless put some
jewelry ideas across in her costume pic-
ture, "Juarez." Portraying the Empress
Carlotta of Mexico, she wears such gor-
geous pieces as a brooch bearing the
hand-painted miniature of her screen
husband, epaulets and aiguillettes made
of dull gold chains and an earring and
necklace set composed of various shades
af topaz and gold.
Only girls under twenty have a right
to get excited about schoolgirl and
'baby" clothes, according to Orry-Kelly.
rhese are most unbecoming to mature
women. He still winces when he recalls
the little hair bows that too often graced
silvered bobs a few seasons ago and
prefers to see the John Held, Jr. girls
an paper rather than in public.
Frilly sports clothes also leave the
Warner Brothers designer cold. He
looks upon them as impractical for ac-
tive sports wear, believing comfort
should come before chic in this case,
rhe only women who should wear them
are those who simply must have a ruf-
fle in their lives. At least, it is better
to put the frill on an informal sports
:ostume than an ensemble which should
at all times be endowed with dignity,
says he.
fOR Bette Davis in "Dark Victory,"
Orry-Kelly has done both active and
spectator sports clothes which reflect his
love of the simple. One tailored frock
jf pin-striped aqua sheer wool is with-
out trim except for front buttons. It is
teamed with a dusty pink cashmere
sweater and a matching suede beanie.
Another outfit combines a featherweight
suede lumber jacket of soft beige, styled
with zipper front closing and quilted
pocket, with a matching flannel skirt.
Lightweight suedes are set for a
greater vogue than ever since a success-
ful means of cleaning them has been
worked out.
Sheer wools will carry on through the
summer. They are so loosely woven
they are actually as cool as cotton or
silk and are more practical because
many are almost wrinkleproof. With
everyone making plans for a World's
Fair trip, sheer wool is a travel thought.
High shades, neutrals and chalky tones
will be of equal value from a style view-
point.
The important silks in the sports pic-
ture will be the tubable ones. Here is
where prints, stripes and checks will
thrive. Checks especially — from the
scarcely discernible pin types to the bold
kitchen tablecloth squares, will be seen
wherever outdoorsy people gather.
Cotton will appear in numerous guises
and will be popular enough to make all
the South rejoice. Fine-waled piques
go into hats, gloves and jackets. Gypsy-
printed percales make clever blouses.
Muslins and ginghams are good for
shorts, shirts and dresses. Checked and
plaid ginghams have been out of fash-
ion long enough to intrigue the younger
generation this summer.
When it comes to the sports silhou-
ette, there is nothing like a razzle-dazzle
or a pleated skirt. "Razzle-dazzle" is
Hollywood's term for the exaggerated
circular which is actually adapted from
the skating-skirt silhouette. It is flat-
tering and youthful without being girl-
ish. Priscilla Lane introduces the style
done up in pink muslin for "Family Re-
union" and is already featuring it in
other materials for her personal ward-
robe.
Pleats are not exciting news, but they
are a good old casual stand-by. Un-
pressed and box pleats evidence the
most promise in skirts, but the knife
variety, stitched down in yoke and
waistline sections, rate in the all-over
pleated dresses. Vertical tucks continue
in their simulation of pleats.
Startling color combinations, such as
lime and violet, chartreuse and plum,
yellow and stratosphere blue, are due to
show up in play clothes, but Orry-Kelly
feels there is nothing so striking against i
a coppery tan as pure, crisp white. Of ]
course, girls who manage to preserve a
pink and white skin throughout the
summer will enjoy accenting it with the
high shades.
As far as the styling of play clothes is
concerned, there can be little change
because those preferred by Southern
Californians have already reached what
must be the tops in comfort and chic.
Our best fashion advice from Holly-
wood is to keep an eye on that Orry-
Kelly-Bette Davis combination. It's out
to make fashion history.
Juarez — The Life History of a Movie
(Continued from page 22)
Empress Eugenie. Gilbert Roland as
Maximilian's aide -de - camp, Donald
Crisp as Commander of the French
armies in Mexico and Joseph Calleia as
Uradi, vice-president under Juarez."
Hal Wallis delegates each picture to
two men — an associate producer and a
director. The associate producer has
complete charge of all details of the
production, from story to preview. He
also keeps a careful check on the
budget. The director comes in when
the story is written. From that time
on he shapes the production as he vi-
sualizes it. Producer Henry Blanke
and Director William Dieterle, the two
men chosen to watch over "Juarez,"
were an ideal combination. Together
they have made such outstanding films
as "A Midsummer Night's Dream,"
"The Story of Louis Pasteur" and "The
Life of Emile Zola."
"In order to get an even closer per-
spective on the story," Hal Wallis con-
tinued, "Paul Muni, William Dieterle.
Henry Blanke and I drove down into
Mexico and met the Government offi-
cials. We discussed the story with
them and they seemed to be quite
pleased with it. We visited many of
the historical places where our charac-
ters had been. We spent days in mu-
seums and libraries. We talked to the
living descendants of Juarez and we
took hundreds of photographs which
were used in designing the sets."
The next office to be visited was that
of Producer Henry Blanke. It was filled
with books and classical sculpture, for
Blanke is a man of culture and con-
tagious enthusiasm. He is very enthu-
siastic about "Juarez."
In the selection of
wedding papers, it
is so important to
Ik; correct. For this
social world is prone
to look with a criti-
cal eve upon the de-
tails that surround
the ceremony. Lin-
weave Wedding
Papers conform to
the amenities of an
informed social
world. You will do
well to choose them.
Roohelle Hudson, stir
of the Republic P
"Pride o! the .Vooy"
WEDDING PAPERS
AT YOUR EXG RAVER'S, S T A T I O .X E R ' S , PRI.XTER'S
VALCOE
SILK STOCKINGS
/f/tn<itt<i /or u:e<t r
There's glamour in their
sheer clear beauty, smart
shades, and the way they
slenderize the ankle, but
that's only one reason for
their popularity. You can
depend on Valcort for long
wear and a stubborn resis-
tance to ordinary stocking
ills. They're popularly
priced ... Ask for them
at your favorite store.
VALCORT HOSIERY MILLS
404 FOURTH AVE. NEW YORK. N. Y.
I
PLACES
GIRDLES
PANTIES
in Tea Rose
and White
Sitcl 26 lo 38
REAL-FORm
"*>« think dH gird,
I rL;s'e*^Ben,b\°'
f '^r.^'ash.oned
and b°rt' '"«<<""
6nd beauty of POf.
ous web f^k
fie,. br,c ">nd
;f°;^'- Softly bo„,j
''V ,sa"n Pane)
""""-"cse crotch-,,'
?•>"* •■* mronC
'eadmg s,orc$
REAL-FORM GIRDLE CO., 358-5th Ave.. New York
MAY, 1939
93
Active young moderns every-
w lure are passing on the good
news about Moderne Women—
the newest, internally-worn san-
itary tampon. Belts, pads, pins
- all the annoying and reveal-
ing features to which many
ien object- are forgotten in
the glorious new freedom Mod-
erne Women brim
You can swim, bathe, go in
for sports and all your normal
activities. There's nothing to
show or to chafe— even you
yourself don't realize that you're
wearing Moderne Women! And
it's absolutely safe— highly
absorbent and retentive.
IT DEODORIZES!
Moderne Women contains an effective deo-
dorant. With tin- tampon, there't no
lity of Riving offense — anywhere, any-
time! I il — convenient ti
in your put tly — pari
12 for only 2ik\ If your drug or department
rnc Women, take
advantage of t!
r » O l - ''MR
coupon and mail tod;
SPECIAL INTRODUCTORY OFFER
NNY PS
tf*. Ill
H irv for rrpilai 2"> parkier (nnr -
■ the nnu
the 'cur' and
And. siiu
making la a matter n and
>ur of il working
mbination.
"In Juan/.' we had an ii
mili.m and tin- dram
tin- Mexican
i Lincoln had many
similarities. Both wire poor and self-
is. Both
iple.
"It's interesting that Maximilian and
met in history, nor do
they in our story. Maximilian wanted
much to i n of-
I him the office of prime mil.
but it wis part of the character of
.Juarez to refuse to meet Maximilian.
He knew that one word would always
stand between them —democrat v.
"The story 'Juarez' tells is very close
to what's happening in Europe today.
eon the third, with his ninety-
nine percent plebiscite and exploita-
tion of a struggling people, is typical
of any present-day dictator.
"In choosing script writers," Henry
Blanke continued, "you consider who's
best for the story and who's available.
We had an unusual group of writers:
Aeneas McKenzie and the sons of two
famous men — Wolfgang Rcinhardt, son
of Max Rcinhardt, and John Huston,
son of Walter Huston. Later, Abem
Finkel, who has written many scripts
for Paul Muni, came into work on the
Juarez part of the script.
"After the writers and the major
casting were set, we had one of those
idealistic budget meetings — idealistic
because you always have to sacrifice
certain things. You think you're going
to get three million dollars for the pic-
ture and they tell you you're going to
get a million and a half. But, as a mat-
ter of fact, I don't think the quality
of this picture suffered from the budget
cut. If anything, it gained."
My next port of call was the Writers'
Building and a chat with Scottish
Aeneas McKenzie. His office was deco-
rated with pictures of Scotch cavalry
in brilliant red uniforms. McKenzie
himself is commander of a Scotch cav-
alry unit in the British army.
" 'Juarez' was different from other
types of movie stories," he told me.
"When you write an original, you
yourself create your characters and
they behave as you want them to. But
here, we had to stick to the facts. I
don't believe historical pictures are in-
teresting if you don't stick to the facts.
We took only permissible liberties.
"After a year of reading about the
background in French, German and
Spanish, we — Reinhardt and myself —
wrote what is called a 'treatment.' It
was two hundred and forty pages, out-
lining the story and some of the dia-
Of course, it was too long.
Then Johnny Huston came in. He's
wonderful at doing dialogue."
It seemed amazing to me that these
three people of such completely differ-
ent temperaments — McKenzie. a Scotch
monarchist. Rcinhardt. a scientific Aus-
trian, and Huston, an American Repub-
lican— could get along together.
"But we did," McKenzie assured me
vehemently, "and we all agreed very
clearly on what we wanted to say.
There were many stories we could have
written out of the material, but we
agreed on finding a viewpoint
which would have a bearing on the
lives and experiences of audiences to-
day.
"We practically lived at each other's
houses. We used to argue until five
k in the morning. We discussed
ird and every sentence.
"Johnny, being an actor, would walk
up and down, improvising dialogue
with gestures. Many times we were
stuck We couldn't seem to get a scene
right. Then Rcinhardt would take out
a little portable chess set and work out
.1 difficult problem. After that, we
could often find a solution. Henry
Blanke worked with us all the way
through. He'd come in as a fresh mind
and he was a great help. Often he'd
get so excited that tears would come to
his eyes."
Five months later, the temporary
• was finished and it was then that
William Dicterle, the director, came in
on the conferences; and Abem Finkel
came to work on the script.
il Muni sometimes listened in."
said Finkel. "He could tell what was
wrong with a scene and by acting it
out he would stimulate us to get it
right. He felt that the character of
Juarez should be warmer and more
human. You see, Juarez was a man
who spoke very little. It was difficult
to dramatize him in long scenes. Muni
felt that Juarez should have someone
to talk to — so that the audience could
see the way his mind worked. He sug-
gested bringing in the character of
Juan, his coachman -servant and confi-
dant. Juan became the symbol of the
simple Mexican peon."
I HE scene of my next visit was a small
room packed with books from ceiling
to floor. There sat Dr. Herman Lis-
sauer, head of the studio research de-
partment. In front of his desk lay five
fat black portfolios.
"These are our research bibles on
'Juarez,' " he explained. "It took us a
year to collect the material for them.
We photostated documents and letters
of the time; we gathered pictures of
places and people. There arc people
living in Los Angeles today who re-
member Maximilian and Juarez.
Eighty percent of our characters have
been photographed. We have to be ac-
curate. There isn't a mistake made in
a picture that somebody doesn't catch.
It was the task of this department to
re-create the period in every detail — in
France, in Austria and in Mexico.
"It's the first Mexican picture we've
ever done. We had to steep ourselves
in a new mentality and we've gained
"Ginny" Bruce and her spouse, J.
Walter Ruben, were among the
droves who turned out for the spe-
cial preview of "The Little Princess"
a healthy respect for the Mexican peo-
ple. We rented a library of over three
hundred books from a man who had
specialized in Mexican history. We
borrowed the library of the former
president of Mexico.
"Besides, we had to discover the pe-
culiarities of all our characters. We
found that Maximilian nearly always
had a big black cigar in his mouth,
that he only slept in an army cot, that
he never permitted his signature to be
blotted. We found that Carlotta was
proud of her hair and liked to wear it
down, that Napoleon the Third always
smoked tubular cigarettes, that Juarez
always wore a black frock coat and cel-
luloid collar and that he kept a copy
of every letter he ever wrote. We had
to find Mexican songs for the music
department, pictures of medical instru-
ments, Indian papooses and buzzards in
flight for the property department. We
had to do everything in advance so as
not to hold up production. It was the
biggest research job we've ever done!"
uO, with a temporary script and Dr.
Lissauer's research bibles, Anton Grot,
the art director, set to work. There
were hundreds of charcoal sketches
stacked against the wall of his office.
They were worthy of an exhibition.
"I used the photographs from re-
search as a basis for my own composi-
tions," Anton Grot said. "Here is a
photograph of the castle of Chapultepec
where Maximilian and Carlotta lived in
Mexico. It was mid-Victorian in the
worst possible taste. It looks just like
a European railroad station. That's why
I have to use my own judgment about
the sets."
There was a little fiberboard model of
Chapultepec beside the sketches. At-
tached to it was a small black object,
hollow at both ends.
"That," he explained, "is the camera
finder. You see, after the director and
producer have okayed the sketches, we
build these little models to scale so
that they, director and producer, can
visualize the action. They look through
the finder to see what the camera will
see. In designing a set, you don't build
more than the camera can actually use.
It's important for your budget, too."
Upstairs, the entire floor of the draft-
ing room was covered with little mod-
els. One took up almost the entire
room. It was thirty feet square.
"That set is a model of the thirty -
six units of Mexican streets, huts, pris-
ons, palaces and cathedrals which were
built on location at Calabasas, thirty
miles from the studio."
It was an amazing piece of work.
There were little branches for trees,
real glass in the windows and even lit-
tle cardboard actors. And there were
models for fifty sets!
"Whether we're building the throne
room of Napoleon's palace in the
Tuilerics or the simplest Mexican adobe
hut. everything must be drawn to scale.
From these little models twenty drafts-
men make blueprints for the construc-
tion department. Even painted back-
ings of houses or panoramas seen
through windows must be drawn to
scale for the scenic department.
"To make our sets even more authen-
tic, stone masons and plasterers 'lifted
the faces' of old California missions.
They made plaster casts of the surfaces
of the old walls. They used these casts
on the set walls and the scenic depart-
ment aged them with shellac and water
color. This process is known as 'tex-
turing'."
WlIILE the script was being written
and the sets planned, Steve Trilling,
casting director, was busy filling the
imposing list of speaking parts.
"Casting isn't a one-man job," he told
94
PHOTOPLAY
me. "The producer and director and
myself got together and discussed the
parts. A casting director has to know
an actor's capabilities, what he's done
last and whether or not he will be
available. It's a question of sorting out
all ideas until you get something con-
crete.
"Casting 'Juarez' was a difficult job.
We spent more time on this than on
any other picture. We had to find ac-
tors of acting caliber equal to that of
Bette Davis and Paul Muni and actors
who would look like the chara:
We had luck with some of the parts —
Claude Rains looked so much like
Napoleon the Third we didn't have to
test him. Brian Aheme looked very
much like Maximilian. Funny thing,
at a party some time ago, Aheme told
Blanke that he would like to play
Maximilian on stage or screen. He had
just come from Mexico and. on a visit
to a museum, had noticed his uncanny
resemblance to Maximilian. That was
before we ever thought of making
■Juarez.' Aherne had his wish.
"Averaging two to three tests for
each character, we made tests in the
wardrobe, make-up and lines of par-
ticular parts. Director Dieterle di-
rected the tests. In that way he could
tell if an actor would respond to his
direction. For the extra and atmos-
pheric parts, we used seventy-five per-
cent of the known Spanish actors in the
Hollywood 'call book' and interviewed
or used all the Mexicans in Los An-
geles.''
BUSY at work on a costume sketch
for Bette Davis. Orry-Kelly. Warners'
head costume designer and the next
person on my list to be interviewed,
talked between deft pencil strokes.
"Carlotta had exceptional taste for
her time," he said. 'She dressed as
simply as well-dressed women do to-
day.
"All of the fourteen dresses that
Bette Davis wears in "Juarez' are sim-
ple and very regal. We used beauti-
ful materials brought over from French
looms — heavy moires and taffetas.
They don't make those materials here
because people don't buy them. Only
one dress — that used for the coronation
scene — was fussy. It was white satin,
beaded with tiny pearls.
""Jewels, so important to the costumes
of the times, were brought from Eu-
rope and from Mexico City. We used
a different set for each costume — ear-
rings, bracelets and necklace to match.
One was made of gold and blue enamel
with little seed pearls and rubies; an-
other, a lovely flexible rhinestone tiara
made of hundreds of flowers. Already,
jewelers have begun to copy them.
"We discussed the costume sketches
with Bette, Dieterle and Blanke. Bette
was thrilled with them. Dieterle sug-
gested that, for the scenes in which she
goes mad, her costumes range in color
from a cobwebby grey chiffon through
darker greys to black. It will be inter-
esting to see how many people will no-
tice the effect on the screen.
"After the sketches are discussed, the
costumes are made on padded muslin
models made to the exact measure-
ments of the stars. This procedure
saves many fittings. Usually, on an
important picture, we make camera
tests of the costumes. But everyone
was so satisfied with these that we only
tested about half of them.
"The intelligence of Bette Davis was
a great help to me in designing her cos-
tumes, for her first thought is always
to be realistic. She doesn't start out to
cheat the period by adding a soft touch
here and there. Most actresses won't
make sacrifices for their parts. In one
scene, Bette wore a white lace mantilla
which was so heavy it almost broke
her neck. Half a dozen stars wouldn't
have worn it.
'"Bette reminds me very much of
Ethel Barrymore, for whom I have also
designed clothes. I remember when
everyone was wearing long trailing
skirts which dragged in the mud
Ethel Barrymore insisted on having
hers cut off. ankle-length. There's a
great similarity between the two ac-
tresses. They're both sensible. That's
what makes them great."
OOMEBODY has to keep track of the
business end of this picture business,
too," said Al Alleborn, unit production
or business manager, when we poked
our curious nose in at his office on our '
final visit for the month. "As soon as
we get a temporary script, the assistant
director and I break it down. That
means we go through it, group all the
exteriors and interiors together and
make a brief resume of the action in |
each group. We figure out how many
pages of script take place on each set
and then divide this by the number of
shooting days allowed us. Ordinarily,
a shooting schedule takes twenty-
eight days, but, in a big production like
this one. we were allowed ten weeks.
"You know, of course, that we never
shoot a script in continuity because it
would be too expensive to keep all the
sets standing and all the players on
salary throughout the picture. With an
expensive cast like this one, we tried to
finish with our players quickly.
"We had to plan all the Maximilian
scenes for the beginning of the sched-
ule because Brian Aheme was sched-
uled to go into another picture several
weeks later. After we made out the
wardrobe plot, listing all costume
changes for the characters and the
properties, our breakdown was com-
plete and we sat down with the direc-
tor and went over the entire picture
with him. The next step was the
budget meeting, of which Mr. Blanke
has spoken. This is when all the de-
partments gather in a large room and
give their estimates.
"Let me give you an idea of the esti-
mates of various departments. Of the
total budget on 'Juarez' of a million
and a half to a million and three-quar-
ter dollars, sets will probably cost
1212r'r: extras and cast lir'r ; wardrobe
and wigs 212r'r (Brian Aherne's beard
and the bleaching of his hair alone cost
S300) : the orchestra and musical scor-
ing 2H'~'- and props and set-dressing
112'-' Of course, the total estimated
budget will include such items as the
cost of film and its developing and print-
ing, transportation of cast and crew to
location, and studio overhead."
With the budget settled, all the de-
partments get busy and make their
requisitions. The production manager
acts like a policeman on his beat — he
has to keep reporting to the production
office to let that office know what is re-
quired. Now sets are built and painted,
costumes made and fitted, properties
assembled. The actors prepare for
their roles with make-up tests, the
script is finished and everything pre-
pared for the final day when the di-
rector gives the word '"Go!" and the
cameras start to turn.
The next article will tell you how Bette Darts. Paul Muni and the other
actors prepared for their roles and will describe their intricate make-up.
It will also discuss how Director William Dieterle and Toni Gaudio. the
cameraman, v:ork and will describe a day on location with hundreds of
extras. Watch for this article in June Photoplay.
You will find that New York has more to
offer when you stop at the Savoy- Plaza.
This famous hotel provides unrivalled
excellence in the spacious comfort of its
cheerful rooms, in its tempting cuisine and
its thoughtful service.
Subway direct to the
World's Fair at the door.
Hear) A. ft!' J Director
George Sutec. Res :
Plan
now to make
the Savoy-Plaza
your headquarters
during your visit
to the New York
World's Fair
1939
OVERLOOKING CENTRAL PARK • FIFTH AVE. 58t» TO Sttfc STS. • NEW YORK
Do You Want To
**Feel Like A Al ill ion Dollars'
ALL THE TIME?
Then follow the simple, easy directions
Bernarr Macfadden gives you in this new
book. Exercise And Like It. No longer is
exercising a dull, laborious effort. Bernarr
Macfadden's book makes it fun ... a game
with glowing, vibrant health as the prize.
Here's a new start for countless men and
women who have been living a half-power
exi-tence — the same formula that Bernarr
Macfadden has applied to his own life and
made him the most amazing specimen of
dynamic good health of our age.
Regain ^ our Youthful
* iiror
In Exercise And Like It. Mr. Marfadden
offers you men a new. simple method for
regaining youthful vigor ... a definite plan
for increasing your pergonal efficiency. He
places at your disposal a program which
takes you out of >our depths of de-pair
and make- you vitally alive . . . full of zest
and enthu-ia-m. By following his plan
you soon become a more attractive per-nn
... a happier person ... a healthier per-
-on.
Exercise properly donf derdofM not merely
\ternal appearance of youth, but the
internal stimulus of >outh a- irdL -■
juvenation by gland treatment has been
exaggerated by many writer- a- the only-
way to rez.iin -exual youthfulne--. ^ et. if
we would develop the zeneral qualitie- of
physical youth, then the^e will be reflefled
in the more specialized equalities of sexual
youthfuln-
Become A Human Dynamo
In Exercise And Like It. Bernarr Marfadden
shows you how to reach out and pluck the
greate-t rewards which life has to offer.
Make no mistake about this book — it is not
an exerci-e drill-book . . . not a dry di-
cour?e on health. It's alive ... its every
page contains priceless information — in-
formation which will transform men into
dynamos of energy — information whirh
will develop women into lovely, sparkling,
beautifully formed creatures.
Practically from the time you begin using
Exercise And Like It. you will notice im-
mediate improvement. Don't put off the
sound, ze^tful health you should — and can
— have any longer. Order your copy of
Exercise And Like It TODAY. At your
booksellers or direct from the publishers.
Only $1.00
The price of this powerful, new 192
book, containing over 50 illustration-, is
but ILM. If not obtainable from >our
book-eller. send one dollar to addr-
low ami book will be sent to you I
prepaid.
Macfadden Book Co., Inc., Depf. P-5
205 East 42nd Street, New York. N. Y.
Send me potfiae prepaid. Bcnurr MarfaddnTi rr»at
arm book. Eurcn* A>« Lk* It. I «*-W
I — I Cdk* here if yon
jtn to per ymttl
slak the book «* C
MAY, 1 939
95
Cal York's Gossip of Hollywood
nd (or every fashion need! Founda-
tions by Maiden Form male every figure
lovelier and harmonize it graciously with
fashion's latest trends. Select the styles
especially designed to suit your figure —
and know the joy of a sculptor's skillful
moulding) Send for free Foundation
Style Booklet C: Maiden Form Brassiere
Co.. Inc.. New York, N. Y.
Left: A •"Once-
Over" (one - piece
foundation) with en
*" Alio " bretsiere
lop, for the correct
support of heavler-
than-everege breasts
— $5.00 and $7.S0.
Right: •"Variation"
bandeau, for a fash-
ionable line-of-sep-
aration — $1.00 to
$2.50; shown with
Girdle No. 120*
(pantle); No. 1205
(regular) each $1.00
w!ng"sWs
Will Feel Famously
Soft and Cool on Your Feet
Your pair will be different in weave
and pattern from any other pair ever
made None but the famous STEER-
HIDE Huorache from Oaxaca can make
this claim Into them it woven smart
style and amazing stamina. Natural
beige leather for men and women.
Your «<■• it in stock, |Uit m«n- C O 7 C
tion it and i»nd outlin* of foot, •! * J
'OOtlhor with \M
ll„-
Immedforo delivery
QLD kyfEXOCO §HOP
SANTA FE.NEWMEXICO
Mil erf from page 61)
him questions. We listened sttentl
to wli.it In' li.nl t'. My We Invited him
ongs end applauded
them roundly.
During .ill of this. Daisy stood by
quietly and unobtrusively, but when
s perfdn took
rs Into her own pews, so to q
all the limelight?
.Not while Daisy possessed a good bag
of tricks!
Tripping composedly to the center of
the room, she paused an instant to make
sure we noticed her. Then she began
a performance of her own. First she
sat up and "spoke." Then she walked.
upright, over to a chair where she said
her prayers. Next she rolled over and
i i! dead. Next, as if deliberately
arranging a climax, she stood on her
hind legs and danced. And then, drop-
ping to all fours, she looked at us chal-
lengingly, and barked.
"Woof! How did you like it?"
We assured her -we liked it fine and
left wishing that we, and not Rennie
Renfro, Hollywood dog-trainer and
owner of the already famous Asta, had
bought her in a pet shop for S4.
Predicament
Charlie farrell. who is staging
such a fine comeback in pictures, is in
one of those don't-know-whether-to-
laugh-or-drop-dead predicaments. It
seems while in Europe a year or two
ago, Farrell met Rob Barton, a young
English chap who longed with all his
soul for Hollywood and an acting
career.
"Well, why don't you try it?" Farrell
suggested.
"Can't. Too stony broke," was the
answer.
When Farrell offered to advance the
money on a chance of the lad's win-
ning a place in pictures, the English-
man refused.
"No thanks, old chap, awfully, but I'll
have to go it on my own," he told Char-
lie, who moved on to other ports and
promptly forgot his brief acquaintance
with Barton.
Last week Charlie received a letter.
"I'm coming to Hollywood at last, old
chap." the letter read. "I've just come
into my money and title. Lord George
Campbell Grant." The letter was signed
Rob Barton.
V
-^
V
V
r ■
i
§
^
■■»
9, 4""- i affl
L
T
^e*V
^t^ ^m a.
pi
*?<*' jm rPV
|^
The top 1938 Academy "Oscars" went to Spencer Tracy
for "Boys Town" and to Bette Davis for "Jezebel." Both
are two time winners! Tracy sent his to Father Flanagan
Manpower
mE had a visit with Mervyn LeRoy,
M-G-M's new producer, the other day
and learned some things about picture-
making and some things about himself.
He has a nice, attractive but unpreten-
tious office, with pictures of horses on
the walls, a couple of lamp shades deco-
rated with drawings of horses and a set
of horse-head book ends on the desk.
He loves horses, Mervyn does!
That "Mervyn" just kind of slipped
out. We don't usually call Big Pro-
ducers by their first names, but he
Ginger Rogers and Producer Jesse Laslcy were among
the 1,265 guests at the banquet in the Biltmore Bowl. It
was the I I th Academy dinner to be held in Hollywood
seems to be that kind of a chap . . .
friendly and not at all high-hat and a
swell host who makes you think he
really means it when he says, "Now
drop around any time." Although you
know he is as busy as all get out.
Mervyn has some positive ideas about
how to make pictures "click" at the box
office. One of them is that there should
be no such thing as a double bill. Give
him a good short and an up-to-the-
minute newsreel and a good feature
picture and let him go home, he says.
As for what makes a good feature
picture . . . well, he insists that a good
picture is any one that will make an
audience sit on the edge of its seat!
Acting, direction, story — the whole
gamut of film ingredients count only in-
sofar as they fulfill that requirement, he
insists. "A good picture always has
either novelty or dynamite," he told us.
He always tries for both.
As for Mervyn himself . . . we found
out he is thirty-eight and wishes he
were older so he wouldn't be called
"boy" any more. First it was "the boy
director" and now it is "the boy pro-
ducer." He was born in San Francisco
and when he was a kid used to sell
papers at the stage door of various thea-
ters. That was where he got his first
yen for the theater business. When he
was about ten, Theodore Roberts gave
him his first theatrical "break." This
was in "Barbara Frietchie" and Mervyn
was supposed to sit up in a tree and
yell, "The Yanks are coming!" for $3 a
week. The first night he fell out of the
tree and made such a hit that his pay
was boosted to $5.
When the motion-picture industry
began to center in Hollywood, Mervyn
96
PHOTOPLAY
A special Award was presented to Disney for "Snow White." He was so
overcome by Shirley's congratulations, he forgot to say "thank you"
went to work in the wardrobe depart-
ment of the Famous Players-Lasky
studio, where, surveying the business
with a calculating eye, he decided he
wanted to be, not an actor, although he
had enjoyed real success as a vaude-
villian by that time, but a director.
"Seemed to me you made more money
and lasted longer," he told us.
So he worked hard until he got to
be a director for Lasky. Then he went
to First National and, when Warner
Brothers took over that studio, they in-
herited him with it. But he didn't like
that too well on account of he was mar-
ried to Doris Warner and everyone said
he had it soft because he was a son-in-
law. So when M-G-M offered him a
producership, he snapped it up.
Samples of his wares as a Metro pro-
ducer are "Dramatic School" and "Stand
Up and Fight." Also, his biggest under-
taking, "The Wizard of Oz," done in
Technicolor, will be ready for preview
one of these days. Mervyn says it will
be a honey.
Fonda Coup
T
HE work of Henry Fonda in "Jesse
James" so pleased the bosses of Twen-
tieth Century-Fox they immediately
thought of the actor for the role of
Alexander Graham Bell's assistant in
the picture of Bell's life.
"The only thing is," one of the pro-
ducers said to Fonda in a conference,
"I'm afraid you don't look much like
a technically minded fellow. Guess you
don't know much about mechanics or
telephones, do you?"
Henry said nothing, but, going over
to one of the telephones on the desk, he
calmly turned it over, took it apart and
just as quietly put it together again.
"W-what?" began the producer.
Fonda grinned.
"I was trouble shooter for two years
for our telephone company back home,"
Henry smiled, "and I even wrote a the-
sis on communicative systems when I
was in college."
Needless to say, Henry is Alexander
Graham Bell's assistant in the picture.
Don Ameche, who knows nothing about
telephones except to answer them, is
Bell.
Small-Town Big Time
UARVEL," U.S.A., may not be on the
map, but it is becoming an increasingly
real place to that group at M-G-M who,
headed by Kay Van Riper (pronounced
to rhyme with "ripe") , create and guide
the destiny of the screen's Hardy
Family.
"Carvel," the Hardys' home town, is,
Miss Van Riper tells us, a sort of com-
posite of the respective small towns in
which she and her collaborators, Carey
Wilson, story editor for the Hardy
series, Lou Ostrow, the producer, and
George Seitz, the director, lived in their
younger days. When they first worked
out this permanent setting for the fam-
ily, they drew a map of the town, nam-
ing streets and locating homes and pub-
lic buildings for all time. They even
had models made for the various neigh-
borhoods they wanted for background,
but, of course, as the series progressed
sets were built. These are now used
over and over.
Interesting, too, is the fact that the
Hardys have a "family tree," carefully
compiled so that future stories may
bring in this and that relative with no
fear of contradicting a previous picture.
Miss Van Riper, a quiet-spoken, ex-
ceedingly pleasant young woman who,
you may remember, used to be identi-
fied with radio, told us that each Hardy
family story is first decided upon at
a story conference attended by Wilson,
Ostrow, Seitz and herself. Incidentally,
each subscribes to his home-town news-
paper so that fresh and authentic in-
formation on small-town doings is al-
ways at hand. Then, with the general
theme settled. Miss Van Riper shuts
herself up in her Metro office and works
out the screen play in minute detail,
even mentioning that the lilacs ->re in
bloom and that they are very frp-rant,
if she thinks this touch will he. < the
director create the atmosphere she has
in mind. It takes her about eight weeks
to do each story.
The day we talked to her, she was
putting the finishing touches on "The
Hardys Ride High," which is all about
how they get a lot of money — or think
they do. "The Hardys Get Spring
Fever" is another in the offing and ad-
ditional themes also have been selected
. . . which makes it look as though the
Hardys will be going on for some time.
Not that we are sorry!
So That's What Ails Us Department:
HE of Hollywood are neither odd nor
screwy. We are not even unusual. Ac-
cording to Dr. Leo C. Rosten, who heads
the Motion Picture Research Project
(gathering data for a strictly modern
scientific book on Hollywood), Holly-
wood and its inhabitants are apace with
the Gay Nineties in spending, living,
thinking.
Dr. Rosten, young and pleasant, a Phi
Beta Kappa, Ph.D., University of Chi-
cago man, draws an apt parallel between
the quick fortunes made and spent in
banking circles during those frightfully
Gay Nineties and the fantastic goings-
on here.
We of Hollywood haven't gotten be-
yond that Gay Nineties era, thinks the
young writer.
Well, old Cal isn't so sure. To begin
with, we never heard of Lillian Russell's
going on a diet, Chauncey Olcott's trek-
king out to his farm after every per-
formance, Diamond Jim Brady's plac-
ing himself in the hands of stony-
hearted business agents, or Anna Held's
taking a bath in plain sunshine.
And, as far as that goes, our Flora-
dora Sextettes, or Chorines to you', are
too busy racing home nights to hus-
bands and babies to be bothered with
Stage Door Johnnies.
So where's your alibi now. Doctor?
Hollywood Sophisticated?
nE'RE laughing up our sleeve (cut in
the newest spring style, of course) and
here's why. On one little jaunt about
this town, known all over the globe as
the home of glamour, we discovered
three reasons why Hollywood is prob-
ably the smallest small town at heart of
any place we know, Podunkville in-
cluded.
1: A neon sign, glowing and gleaming
from a small shop window on the cor-
ner of Fountain and Highland Avenues
(the very core of Hollywood), reads:
I Ain't Mad at Nobody.
2: The much publicized Brown Derby
(the Wilshire branch) with' its stiffly
skirted waitresses revealing shapely legs
still resorts to an outside cistern, exactly
NOW LET
WptfP
*8 *«TMn
A big-drawing Power himself, Tyrone presented an
"Oscar" to Fay Bainter as "the best supporting actress
of 1938" — the role designated was in "Jezebel"
ou know thp Wfliimffl genius for
make-up. You've marvelled :it it 00 the million-
dollar faoea of the set eon stars — .■
"_"".' Now the thrilling Wcstmore "secret" ran
be yours! Most startling make-up discovery in
years — color- - to give you the
illusion of glowing young b
even, under unflattering Lightsl B<
■ osmetics are free of gray "aging" skin
right now with Wcstmore color-
filtered Foundation Cream (four shades: powder
to match). See it transform your complexion
beautifully, right ln-fore your eyes! At good
drug, department
and ten-cent stores.
Olivia de Havilland
•t&rrinc in W«m«r Bra*.'
"Dodge City"
On the screen and off
—Olivia de Havilland
slurs her loveliness
with Westmore Color-
filtered Cosmetics.
"new^ork0 * COLOR-FILTERED COSMETICS
GRAY
FADED
HAIR
Shampoo and color your hair at the same tii
with French Method "SHAMPO-KOLOR."
dyed look. Colors hair clo-;e to scalp. Permits
perm. wave. Free Book. Valligny Prod. Inc. , Dpt 43- H. 2S4 W. 31 St N. Y.
DON. A MAID 2S<
300
KEEPS HAIR
LOVELY
Get the original tailored
DON-A-CAP because
this cap is cut to fit the
head snugly, comfortably
and attractively Makes
hair arrangements last
days longer Permits real
sleeping comfort Saves
time in the morning
Millions in use everywhere.
A special model at
Ten Cent Stores only.
Look for OON-A-Products
display. don a ban
Dona Manufacturing Co.
SAN OIEGO, CALIFORNIA
DON
A. CAP
2Sc
' ^ '
' *'
No.l
o- /
SCO
MAY, 1939
97
7
FROM
i ■pro
«-
*
l02r*8Z
IN A MONTH
\ OR TWO
\
PLAY Bl
ro
■
III. till*
•\ I H ell
I
..11
■ 'i 1 1 Mr ill
inatnio
'' •llni'T-
' |||) lllillk-
book
k no inn
■
tu Ion form "/ l;n \t f02
in now
I
full) ill..
$2.00 Postpaid
■MO . .-.
Il >l"\ 1
pi ivi II I I I II
DOU
GOLF SECRETS
Box 464, Dept. 18,
Springfield, Ohio
., HI. .Ill
**C
HiHU-Hiim
FOR YOUR WIFE
295
Post
Paid
CANTON PAJAMA SUIT
Special Introductory Price!
" A
Oiicnt.il Jmken Satin IV C
limi Sum arc the smartest y'
of garments fur lounging.
sleeping, etc. Make ^J Post
§Come In tkh Black aE_fl Paid
atin with trim in Chinese
Red ; R.»-.al blue with Gold ib,.uu-u r,->
trim; Red with White. All W*ul*rly Si)
bcaucilullr hand-embroidered in silk
designs. The tiuuscrs and belt arc buund
with same trim tu match. State size wanted.
AND SATIN SLIPPERS FREE
aj>t t I • MaUb Your i'.ij.jmatj
A p.or of silk satin
' c slippers giv-
en Free with every
paiama suir. Ruhly
embroidered by
Chinese women in
lltit.il. butterfly and
bird designs. Fine
leather soles, tried i-
, urn iVj-inch Cuban
heels. Fully lined and padded inside making
'hcm ible. Royal Blue. Red.
it*. State color wanted
and your iboc
■ END NO MONET
DOROTHY IOTO ART STUDIO
2 15 Art Center Bfd| .Sen Pranciaco* Calif.
II ri I
IStlJ rttuUrly S2)
like its
drinking water — the old pump handle
it when i
.'. •! the place.
3: Hoi!.. ilcvard-
of dreams. I:
wheat ripen and are !■
the boulevard front Two
drip their golden fruit over the
l driveway and ■ field of poin-
■
Yt-t. on Hollywood Boulevard.
Notes from Cupid's Billboard:
^^^ A
IT last, one of Hollywood's most eligible
■ Ion, Mr. Cesar ("Butch" to you)
era la in love. The lady is none
other than Ann Sheridan herself. The
tWO positively radiate happiness — so any
day now you can look for the big red
letters on the box that spell R-I-N-G—
the wedding kind.
• * •
They say (you know the "they say-
ers") romance is cooling rapidly be-
tween Cary Grant and Phyllis Brooks.
"They" could be wrong, of course, but
Phyllis is looking unusually downcast
these days.
May We Introduce Miss Temple's First
Leading Man?
HIRLEY TEMPLE, for the first time
in her career, has a leading man and a
right handsome lad he is, too.
But blase? My word.
"How do you like playing with Shir-
ley in pictures?" we asked him on a re-
cent visit to the "Susannah of the
Mounties" set.
He turned and eyed us calmly.
"Swell," he shrugged and went back to
his book.
Martin Goodrider. thirteen years old,
is a Blackfoot Indian from Montana.
Swarthy, dark-eyed, black-haired, Mar-
tin radiates intelligence, a quiet sense of
balance and a delicious sense of humor.
For instance, after a scene one day,
Martin waved a hand back and forth
before Shirley's face.
"What are you doing?" Shirley asked.
"I'm putting the Indian sign on you,"
Martin said.
"Don't do that," Shirley cried. "Take
it off."
Martin threw back his head and
laughed. "Don't you know that's only
ignorant superstition. There is no such
thing as an Indian sign. But, look, you
can have a lot of fun if you want to.
I'll show you how to do it."
Shirley now goes about solemnly put-
ting the Indian sign on the cast.
Martin was spotted by a casting scout
while on a visit to New York with
Father Cullens, a teacher in the Jesuit
mission school which he attends.
He was asked about his ability.
"Well," he said unenthusiastically, "I
can sing 'Paddy O'Reilly'," and, with an
Irish brogue an inch thick, the full-
blooded Indian lad sang the song
through. Needless to say, he won the
role in Shirley's film.
Quick as a flash, he catches the mean-
ing of every line and gesture before a
camera, feeding Shirley her lines like
a trouper.
Hi's never appeared before a camera
before or ever experienced the slightest
desire to act.
Right now he wants only one thing —
to finish the picture and go home to his
father's three thousand acre ranch.
After each scene he'll wave a hand to
Shirley with a typical boyish salute and
go off to his lessons, while Shirley goes
off to hers.
Patiently he'll stand by while they
pin long Indian braids to his short
cropped hair.
Well, Martin," an eager publicist
one day, "we'll have to get some
■ s written about you."
"No, please, no," he said. "They may
those things about me back home
and laugh. Please, no."
"But" shrugged the writers, "we think
publicity is important."
The lad shook his head and said,
quietly. "Well, Indians know better."
And that settled that.
What? Another Dummy?
L
ITTLE does the world dream that
there is still another dummy in Edgar
Bergen's life, surpassing in wit even
that upstartish young McCarthy and
the bucktoothed Mortimer Snerd.
Ye.s. Bergen's third dummy is a very
pedal one reserved only for his closest
friends in Hollywood. Her name yes,
it's a female) is none other than Aunt
Ophelia and the charming old baggage
(a nice way to speak to a maiden lady,
tch! tch!) is even closer to Bergen than
Charley or Mortimer.
You see, she's Bergen's right thumb.
At parties, when Edgar feels at home,
his thumb takes on all the prim and
proper (?) attitudes of this remarkable
maiden lady.
"Now, my man," she'll begin when
Bergen, his face a study in perplexity,
will interrupt, "But I thought you were
an old maid?"
"Oh, well." Aunt Ophelia will flounce,
"I'm not a fussy old maid."
Yes, you really should live in Holly-
wood, for I'm afraid you'll never meet
amazing Aunt Ophelia elsewhere. And
what a pity.
She has more "umph" than a carload
of cuties — and what a Scarlett O'Hara
that one would have made. Wheewie!!!
Eavesdropping Loot
mE were knocking about the grounds
of the Gene Raymonds' establishment
last week, waiting for Jeanette to finish
a music lesson. Eventually we ended
up in the little music house. This one-
room affair, which is a short distance
from the house proper, has a fireplace,
two white pianos, a microphone and the
most involved recording device you ever
saw.
Two records lay on the two turn-
tables, with the mechanism set for play-
back. It was too much to resist. Look-
ing furtively around, we put out a hand
and turned a switch —
Quite suddenly. Gene's voice sounded
from the loud-speaker. Slowly, sonor-
ously, he was reading the Gettysburg
Address. There was a pause, then came
the notes of a piano and he began sing-
ing "Night and Day" — but with control
and resonance unlike the crooning he
has done in pictures. Once, after a flat
note, he stopped, said "Damn" and
started over.
After the next interlude of silence a
cascade of clear, lovely melody poured
forth — a new melody, unfamiliar. Ris-
ing hurriedly, we shut the machine off:
there are limits, even for a columnist.
You see, this would be Gene's new op-
eretta, on which he has been working
for months in secret.
Shhhh: It's a Secret We're Telling You
MlDWAY in "Gone with the Wind"
shooting, there came a minor gust that
popped Hollywood eyebrows higher
than kites — overnight Director George
Cukor was replaced by Victor Fleming.
Aware of the fine friendship between
producer David Selznick and Director
Cukor, the town simply could not
understand the situation. But old Cal,
who has a way of getting to the core
of things (we listen down chimneys,
too) has the inside story behind that
sudden change of directors.
To begin with, "Gone with the Wind"
is a woman's story, Scarlett holding the
spotlight from start to finish. Mr.
Cukor, one of Hollywood's finest direc-
tors and the man who has directed
Hepburn and Garbo in some of their
best, is known as a woman's director.
All of a sudden, Mr. Gable became
aware of these two facts and grew sud-
denly unhappy, not without reason, one
must admit.
Now, Metro-Goldwyn-Mayer isn't go-
ing to permit one of their greatest box-
office bets to be unhappy if they know
it. So, since the releasing reins of the
picture are in their hands, they de-
manded the picture be placed under the
direction of one of their own directors.
And Mr. Fleming, who did so well by
Mr. Gable in "Test Pilot," was chosen.
So there's the story and the results,
by all reasons of logic, should find Mr.
Rhett Butler taking a back seat for no
one — not even that fascinating wench,
Scarlett O'Hara.
For Men Only
I HAT handsome young writer, Charles
Martin, who is so in love with Joan
Crawford, is rapidly winning the ad-
miration of all Hollywood.
A poll among the feminine guests at
a recent Hollywood party revealed these
individual reasons why the town favors
Charlie.
1. His hair, unlike an actor's, is curly
(not wavy) and unslicked.
2. His clothes are not like an actor's.
He always wears extra loose collars and
white shirts.
3. His mouth is wide and boyish and
so is his grin.
4. He is honestly and genuinely
grateful for praise and will eagerly talk
about how he began humbly as a writer
and where he hopes to go as a writer.
5. He will catch Joan's arm boyishly
to attract her attention when anything
nice is said to him. He wants her to be
proud of him, too.
6. He is neither blase, bored, nor
stand-offish.
7. He's a real guy.
Big Wind
UURING Hollywood's coziest wind
storm in many a day, a traveler far out
in the valley spotted two men struggling
with some object on a near-by estate.
Fearing his fellow men were in trouble,
the traveler braved the nasty tempered
blast to go to their aid.
"Need help?" he called.
"Yea, thanks," came back the answer,
"we're trying to wire down these trees.
Don't want them to be blown away."
Valiantly the men struggled with wire
and stakes until the last tree was safe.
It was only then the traveler turned for
a good look at his hard-working com-
panions.
One of them was Clark Gable!
"Say," said the helper, smiling, "this
is a bigger wind than that one you're
working in at Selznick's, isn't it?"
Clark agreed.
Facing Facts With Una Merkel
We met Una Merkel in the Hollywood
Derby recently and she was kind of
blue. She had a bad cold and confided
that several things had gone wrong
'lately. "I guess I am jinxed," she com-
plained.
We protested. "To admit that is bad
psychology! Grin and pretend to your-
self everything is lovely. Don't be a
pessimist."
Her retort was typical of her. "I'd
rather be a pessimist than an ostrich!"
98
PHOTOPLAY
Brief Reviews
* HEART OF THE NORTH— Warners
Warners have taken the greatest chase melo-
drama of them all. put it into Technicolor and the
result is surprising and exciting. It begins with
bandits, stealing trappers, gold, killing a policeman.
Red-coated Dick Foran then starts in pursuit and
boy, does this Mountie get his man! Gale Page and
Gloria Dickson both work their wiles on Foran.
Great fun. (Feb.)
ir HONOLULU— M-G-M
The studio intended this extravagant musical to
be Eleanor Powell's picture, but somehow Grade
Allen appropriated it. The plot revolves around a
screen star's ( Bob Youngj attempt to have a
tropical vacation incognito. Miss Allen's irr
ible humor and Miss Powell's expert hoofing will
keep you amused. [April)
* IDIOT'S DELIGHT— M-G-M
An effective screen treatment of the Lunt-
Fontanne play. Clark Gable is a vaudeville ham;
Norma Shearer, a phony Russian countess traveling
with Edward Arnold, a munitions maker. Add
put them in an Alpine hotel
when the next war breaks out and you have drama
in fantastic proportions. Salute! Hollywood grows
up. (April)
if JESSE JAMES— 20th Century-Fox
The story of the famous Ozark outlaw em-
bellished with all the romantic trappings including
Technicolor) at Darryl Zanuck's command.
Tyrone Power as the bad man. Nancy Kelly
wife. Henry Fonda as his brother. Randy Scott,
Henry Hull and a host of ethers tear throu,
best combination of a cops and robbers bang-up
Western you ever cheered through. (March)
if KENTUCKY— 20th Century-Fox
Ye old Southern feuding between two aristocratic
horsey families is brought to an end by a boy loves
girl (Loretta Young vs. Richard GreeneJ angle, but
despite the old plot you will revel in the magnificent
Technicolor shots of the Blue Grass country, the
Kentucky Derby and the southern atmosphere in
general. An orgy for horse lovers. (March)
KING OF THE TURF — Small-United Artists
The long arm of coincidence is practically pulled
out of its socket in tliis race-track tale. Adolphe
Menjou, cast as a bum. is regenerated by a run-
away boy. The boy has a mother, Dolores Costello.
Menjou has an ex-wife. Who? Dolores Costello.
We can't stand surprises,
LAST WARNING. THE— Universal
Detectives Preston Foster and Frank Jenks
manage to trace a blackmail note through a laby-
rinth of guests at a house party, undeterred by
murders and kidnappings. There's not much gore
and hardly a shock scene. (-'■/ .
-k LET FREEDOM RING— M-G-M
is the movie in which Nelson Eddy has a
. .t with Victor McLaglen. He also sings to
Virginia Bruce (not J. MacDonald). As the hero
rancher who persuades the railroads to give back
stolen property, naturally Nelson wins over Victor;
he wins Virginia, too. You will like this blend of
action, drama and music. {April)
LONE WOLF SPY HUNT. THE— Columbia
Spies are in vogue just now. so here is Warren
William again I as the Lone Wolf) catching up on his
espionage in Washington. Ralph Morgan
menace. Ida Lupino the sex appeal and Virginia
Weidler j ust tags along. Will not win friends or in-
fluence people. (April)
*MADE FOR EACH OTHER— Selznick-
United Artists
This vital, modern love story will appeal to most
adults, but especially to "young marrieds" whose
problems, miseries and happiness are portrayed
with understanding and humor by Carole Lombard
and Jimmie Stewart. The cast, production and
direction are Hollywood's best. (April)
■fc MIKADO. THE— Toye-Universal
The first full-length production of a Gilber
Sullivan comic opera, this retains the sentimen-
tality and ironical humor of the original. Beau-
tifully sung by the D'Oyly Carte Opera Co.
(augmented nicely by Kenny Baker), this tale of
the loves of the son of the Mikado of Japan in
the Middle Ages should charm anybody over
twenty. (April)
NANCY DREW— DETECTIVE— Warners
Another series, boys, and nothing to hold your
hats over. It has Bonita Granville playing sleuth
when a rich graduate of her school is kidnapped
before she can endow a swimming pool. Short-wave
radio and carrier pigeons are cast in supporting
roles. (March)
NANCY DREW— REPORTER— Warners
Bonita Granville now gets involved with a group
of journalism students who outwit an ec
solve a murder case. Frankie Thomas. Jr.. helps
her out. Very' tough on the poor mure i
if ONE THIRD OF A NATION— Paramount
ng the President's line from his second in-
augural address, Dudley Murphy has made a
sermon for slum clearance that will make you want
to take an axe to the first old house you see. Sylvia
Sidney. Lei! Erikson and Sidney Lumet are splen-
did, but the tenement house is the star. We suggest
this is worth seeing if you are at all interested in
everyday news items. (April)
if OUT WEST WITH THE HARDYS—
M-G-M
The latest in this amusing series, this cannot fail
to crack the box office in its own right. The Hardys
(Continued from page 6)
(Lewis Stone. Mickey Rooney. Cecilia Parker and
Fay Holdenj go r I the Wild V.
woolier than they I uld be. The Judge.
as usual, pulls Mickey's ridiculous chestnuts out of
the fire. (Feb.)
PACIFIC LINER— RKO-Radio
r MeLagl-r ..nd Wendy
Barrie carry on the b:tter end through a
plague on shipboard: .ef engineer.
Chest- -
Then the picture : j
* PARIS HONEYMOON— Paramount
Bing Cros; cowboy who has quite a
to-do making up his mind whether to m
Paris divorcee S: ttle peasant
loped
what might be called "Crosbian I
happy and superbly modern, and Fr
has plenty of
PERSONS IN HIDING— Paramount
Taken from a book of crime cases by the same
name written by J. Edgar H>» .rnpress-
iiick"
I >ns of a vicious young woman by mi
robberies, kidnap:.
'rison (a newcomer! does amazingly
well. (April)
PRIDE OF THE NAVY— Republic
u have been wondering where James Dunn
-ping himself, drop in at your neighborhood
theater. He's a speedboat demon kicked
Annap he will
a torpedo boat and Rochelle Hudson per-
suades him it is the thing to <i
* PYGMALION— Pascal-M-G-M
George Bernard S nd wisdom trickle
delightfully throug •.:. picture. A
modern interpretation o: I :alptor
. to do
with a prote-
ant flower girl, builds her into a beauty, f
love with his experiment. Leslie Howard. Wendy
Hiller and Wilfred Lawson are brilliant — so is the
production- Please go. .
RIDE A CROOKED MILE— Paramount
Leif Erikson an i a a jumbled
yarn of an ex- v-i-orth
while ':.'.■ i:ie Army to help Papa escape
the law. Frances Farmer is the woman who clings
through Thick and Thin.
SAY IT IN FRENCH— Paramount
When Ray MiUand return- from Europe with a
secret French bride (.Olympe Bradna1. lie discovers
his mother plans to announce his engagement to
Irene Hervey. an heiress who can hoist the family
bank account. Out of such a situation comes some
excellent comedy. The supporting cast U in top
form.
SHINING HOUR, THE— M-G-M
A somewhat tarnished dancer who
marries a rich Midwestemer. The psychology be-
hind his snobbish family's r< lightly
dated, but Joan Crawford and Margaret Sullavan
both give magnificent performances. The rest of
the cast — Melvyn Douglas. Robert Young and
Fay Bainter — are too good also to miss. (Feb.)
SMILING ALONG — 20th Century-Fox
.;r Englani
cavorting around as the leader of a vaudeville
troupe touring the Thames c Grade
Fields has to be seen to be appreciated; both her
comedy and her singing are simply corking. She
has fun and so will you. (March)
SON OF FRANKENSTEIN— Universal
Success of the revival of horror pictures inspired
-to-date chill nginal
r of 1931), B "acula") and
Basil Rathhune work together with an awesome
-phine Hutchinson lias a small
bit. Prepare for nightmares. (April)
if STAND UP AND FIGHT— M-G-M
A we'.l-knit fast- t the
ructious bac ry and the :
between the old stagecoaches and the nt-
roads in Maryland. Robert T:-.;. ■ mely
the proud young South' i Rice
is sweet, Wallace Beery : Jerick
is humorous — the whole shebang is great stuff.
-
* STAGECOACH— Wanger-United Artists
meet
and face treachery travel . Indian in-
fested territory- in 1885. '
-of the year is that of Thomas Mitchell
drunken doctor, but Claire Tr-
George Banc: xcep-
tional. Very' fine.
ST. LOUIS BLUES— Paramount
-cries of anti-
climaxes holding the pi jl logeth- - rmers
can sing. Lloyd N dashing captain,
Dorothy Lamour is a runaway actress who r
to wear sarongs (but she does). Four songs are
delightfully rendered by Marine Sullivan, aided by
the Hall Johr. Ipril)
SWING, SISTER, SWING— Universal
the pot, quite, quite cold. Ken
-tow- n
jitterbugs in the big city who find success, go back
to home sweet home to start a garage. Eddie
Quillan is in there pitching. (J.'-
SWING THAT CHEER— Universal
You swing it — we give it to you. We're kind of
tired of football at this point, but maybe you can
get some excitement out of Tom Brown and
Robert Wilcox having a misunderstanding over
Constance Moore. Finally, there's the day of
The Big Game, tra-la-la. (Feb.)
if T! AH SPIN— 20th Century-Fox
Alice Faye. Connie Bennett. Nancy' Kelly and
i sacrifices of
competition in women's air derbies. Ther.
sorted love stories, but see this for the novelty and
speed thrills. (April;
• THANKS FOR EVERYTHING—
20th Century-Fox
Americanism and democracy are the keynotes
in Ibis highly amu-ing comedy built around the
nation's sample average man chosen by two ad-
Adolpbe Menjou and Jack
Oakie. Jack Haley's "average" reactions will make
you roar and the romance quotient is supplied by
Arleer. . B.r.me barne;. [Feb.)
if THANKS FOR THE MEMORY—
Paramount
As "1 - '.he Memory" was such a song
hit. Paramount decided (and right they were) to
gi%e us this film by way of an encore. Bob Hope and
Shirk-;- reunited as the young married
couple who have trouble for a roommate. One of
the best comedies of the month. (Feb.)
if THERE'S THAT WOMAN AGAIN—
Columbia
In this delightful film sequel to "There's Always
:ian." Joan Blondell has been miraculously
changed into Virginia Bruce, but Melvyn Douglas
Continues on in his role of high-class detective
iiddy wife decides to crack the big jewel case
in her own way. Sparkling and ingratiating. (Feb.)
• THEY MADE ME A CRIMINAL—
Warners
may feel that the "Dead End" kids need a
bath and a spanking, but here they are again,
co-starring with Warner's new-
find, John Garfield, in a suspenseful tale of a petty
crooked prize fighter. Ann Sheridan adds plenty
of uumph and Garfield lives up to his reputation
magnificently. March)
TOM SAWYER. DETECTIVE— Paramount
You might reca" - the story' of Tom
and Huck Finn on Uncle Silas' farm; t:. -
murder and there are twins to make the m
identity theme bold good. This was a swell yarn
Mark Twain wrote it. but things aren't
as they used to be. (March)
TOPPER TAKES A TRIP— Hal Roach-United
Artists
is a dishful of whip cream for them that
likes it. Roland Young again plays liis bewildered
cal banker, Bilh'e Burke again flutters
through as his dissastisfied wil I wbray
is again the humorous butler and Connie Bennett
n the ghostly heckling friend in need. The
process shots have novelty value. (..'•.'
• TRADE WINDS— Wanger-United Artists
Fraught with suspense and action, this drama
flits up and down the scale of human experience
and half around the globe before the climax-
Suicide, murder, flight and pursuit are all in a
day's work to Joan Bennett, Fredric March, Ralph
Bellamy, Ann S ' - Iney Blackmer and
Thomas Mitchell. A lively and entertaining evening.
(Feb.)
• WINGS OF THE NAVY— Warners
Here's another American documentary film which
virtue of a good lcc . .yne, George
Brent and Olivia de Havilland) merged with the
fascinating pictorial deta^" -
The crash and stunt sequences are fine and dandy.
WOMAN DOCTOR— Republic
Henry' Wilcoxon. Frieda Inescourt and Claire
Dodd worry- through the tangles of love w
ntfscoun can't make up her mind whether her
duty lies with her husband and child -
or with other mothers' crippled offspring. W
the customers. (April)
• YES, MY DARLING DAUGHTER—
Warners
Transferred from the stage, t . • be a
>n the freedom and unc -
:ng females of today. Pr.-oUa Lar.
to her liberal
r's advice (Fay Ba
bewildered young swain wh.
- in the home.
YOU CANT GET AWAY WITH MURDER
— Warners
Once again Humphrey- Bogart is the icy-eyed
;e. Like all literary
a love
accused of murder.
.en they run out of L'. S.
• ZAZA — Paramount
nson originally emoted in this mdler-
dram: I French musical star who
CLCfQAAOAi
Headache
Sour Stomach
Muscular Fatigue
Colds and Everyday
Aches and Pains
• A sparkling glass of Alka-Seltzer, should
be your first glass of defense against the
pain, misery and discomfort of common
everyday aches and pains.
Too much rich food — too much work or
pleasure — too much eating, drinking or
smoking — these are the common excesses
that cause TOO MUCH ACID, and EX-
CESS ACID usually goes hand in hand
with Headaches, Acid Stomach, Distress
of Colds and Muscular Aches and Pains. If
you're wise— you'll alkalize. Take a spark-
ling glass of Alka-Seltzer. It's a pleasant,
effervescent alkalizing solution and pain
reliever. Alka-Seltzer was unknown seven
years ago — today it is used by more than
20 million people. All druggists have Alka-
Seltzer in 30 and 60 cent size packages.
Alka-Seltzer
i:<IHiiHiMI:l:??i.
6c in lU-nui TODAY »o* i
l*t. "How to ■*m«v« S-r---*.
For*vfr,M
O J. KUhlcr Co.. Best. 57E Pro> .Or^ce *- I.
Do the entire
wash this nsAv way!
NT STUCK
niakrs it important.
Your iron fairly glides when
you use this wonderful new
CI ACT!/ : to hot starch. You can
LLAJIlV make a pint or gallons in no
time at alL No waste. No
cooking. Nothing to add.
Givesa lovely sof t "finish" and
gleaming freshness. Try it.
THANK YOU
THKHl"BIXGEl:CO..No.Tcvj Keokuk. la.
Your frtw cample of QITCK El-
"TLat Wonderful Way to H
^
Name. .
Addreaa
MAY, I 939
99
Soto«
\"iir I'm.\ in llimirr M n f ulib n'- Mm-
nuiidinc -• iiiini . - • • . • v
• ■•• lor inlor-
Mililary .\.
Want a CAREER in
Photography?
u
v.
f^ld. Wond«""
S«v»d lor booklet.
NIW YORK 1NSTITUTC OF PHOTOC»*PMY
0 trVr.t 33 St. iOcpl. 37) New York Cty
NEW Miracle Foot Relief
CORNS
SORE
TOES
Dr Sertoli's n< v.
i Quu-kly
"rns or callouses. Safe, sure. ti3©TJ
V! '.n't come off in bsth. 2S' i increase in
quantity AT NO EXTRA COST— only 35c. ^j
WH
Nmw Pat-
• f>fd S»al-Tip
Scalloped fdg»
NEW.s'm/ui .S\f(
A
D-rScholls Zinopad;
STRONGER1
MORE ABSORBENT
AT 5 AND 109 AND BETTER
DEPARTMENT STORES
WOMEN -R 40's
Need Not Lose Charm!
Here's pnod advice fnr women from 38 to !>2 who
i i noying symptom
I i his atago '-i I ■ n perhaps i
r you li"w than SO i ur dreamed—
Just get more fresh air, S hr». sleep and if you
famous
Lydia E. J'lnkham'n Vegetable Compound,
. ire build u[>
i . i
rn female functional dis-
orders and gives more energy to enjoy lite.
For free trial hnttln liar thin out and Bond with
name and addn •.* to Lydia E. I'inkham Medicine
: I Cleveland St., Lynn, Mass,
Pinkham's is WELL WORTH trying!
VEGETABLE COMPOUND
Casts of Current
Pictures
"AD1 On fCLBBERRY FINN.
ttullrr.
! Ann
•HI i i\nir MEETS THE BOSS"— Columbia.
I upon
I :. ,..k 1< Mi
Hale;
W nler-; Kiri
Durn II; H Uscm. J.iy i
nd.
■ li\RK VICTORY"— Warners. — Screen play
in, from the play by George
Brewer, Jr., and Bertram Bloch. Directed by
Edmund Gouldlng. The Cast: Judith Trohtrnt,
. Dr. Frederi Hunt;
l mi K Be Fitzgerald; Mit
Humphrey Bogart; Alec Homm, Ronald Reagan;
;i,»;,n- /•... ... . Henry Traversj Miss Wain
. Virginia Brissac; Colonel Mantle, I
Richmond; Lucy, Lottie Williams; Dr. Carter,
Herbert Rawlins; Dr. Driscoll, Leonard Mudie;
Dodd, Fay Helm; Secretary, Ila K:
Wrizon, Richard Bond,
Wilda Bennett, Miry Currier, Leland Hi
Newell, Frank Mayo, Marian Alden, Pau-
lette E>
•'FAST AND LOOSE" — M-G-M. — Original
; lay by Harry Kurnitz. Based on the char-
ted by him. Directed by Edwin L.
Marin. The Cast: Jotl Sloane, Robert Mont-
gomery; Gartla SIC ' I iment
maid Owen; Nicholas Torrent, Ralph
a; Chrislopha Oates, Etienne Girardot; Dan
I, Alan Dinehartj Christina Torrent, Jo Ann
. Bobby Neville, Joan Marsh; Phil Sergeant,
ny Allan; Gerald Torrent, Tom Collins;
"Lucky" Nolan, Sidney Blackmer; Mrs. Torrent,
Mary Forbes; Forbes. Donald Douglas; Craddock,
Leonard Carey.
"FLYING IRISHMAN, THE"— RKO-R.u.m.
i lie true life story of DoueJ
i i P igano and Dalton Trumbo.
Directed by Leigh Jason. The Cast: Douglas
"Wrong Way" Corrigan, Himself; Butch. Paul
Kelly; Joe Allen, Robert Armstrong; Harry
■ Idie Quillan; Roy Thompson, Donald Mac-
Bride; Sally, Joyce Compton; Maybelle, Dorothy
Appleby; Evelyn, Peggy Ryan; Mrs. Them
witherspoon: Messenger, Derry Noisom;
Workman, George Magrill; Doctor, Roy Gordon;
9 yrs.). Gene Reynolds; Mr. Corrigan. J. M.
Kerrigan; Harry (8 yrs.). Scolty Beckett; Sn
ncrs; Floaier Il'oman, Tiny
inly Sutton; Credit Manager, I
Lane; Plan* Owner, Jack Rice; Mechanics, Lee
and Phillip Morris; Bill, Ed Gargan; Mrs.
Corrigan, Dorothy Peterson.
"ICE FOLLIES OF 1939. THE"— M-G-M —
Screen play by Leonard Praslrins, Florence Ryerson
and Edgar Allan Woolf. From the story by Leonard
lis. Directed by Reinhold Schunzel. The
Mary McKay, Joan Crawford; Larry Hall,
Stewart: Eddie Burgi . Lew Ayres; Douglas
r, .h.. Lewis St.ne; Kitty Sherman, Bess
Ehrhardt; Mart Hodges, Lionel Stander; Barney,
It Brown; and "The International Ice
Hhrhardt, Roy Shipstad, Eddie
ad and Oscar Johnson.
"I WAS A CONVICT"— Republic— Screen
pl.iy by Ben Markaon and Robert D. Andrews.
Origin.il story by Robert D. Andrews. Directed by
Aula, | riieCasl King, Barton
Judy, Beverly Roberts; J. />. //-
....lb; Mrs. Harrison, Janet Beecher;
in Smith, Horace MacMahon; Rocks, Ben
Welden: ./•. I Vmes; Aunt .Sarah.
Blandick; District Attorney, Russell Hicks; Matty,
J. .Im ii ' lute; Dr. <
id Kent; Dr. Craile, Edwin Stanley; Martin
.. Harry llolman.
DV AND THE MOB, THE— COLUMBIA.—
Original story by George Brad-haw and Price Day.
;.■ i M baum nd < ■. rtrude
Purcell. Directed by Ben Stoloff. The cast: Mrj.
Baintei : I. da. Ida Lupino; Fn
Bowman; O'Pallon, warren Hytner; /,n>
Henry Armetta; Bert llu anory,
Tim, Jim Toney: llhnky Mack,
,:. Tommy Dugan;
.n,i Hytten;
. Harold Huber; Mrs. Zam
US, Otto Hoffman.
"LET US LIVE"— Columbia. — Original
n pl,y by Anthony
M ,n Rivkin. Directed by John Brahm.
Henry Fonda: Mary, Maureen
. Ralph Bellamy; Joe Linden.
. Henry Kolker;
IMora ; Burke, Philip Trent;
[las; Taylor. I'eter Lynn; Jimmy
Martin SprTlman.
Wh,
hen business or
friendship <;ill> you
to Boston, make the
COPLEY -PLAZA
your address . . .
# 1Wau.sc the Coptey-Pl.izn repre-
sent .\iinrii;tn li(»trlr>' ;it its bests
Built and staffed u New |England'a
tin. -t botfll, it Ikls iiiiiintain. <] that
let»denhip forover twenty-five years.
The Copley-Pbua i^ luxury without
pretension and extravagance.
When you come to Boston . , . come
to the Copley-Plaza. ^<- can make you
superbly comfortable in a room live-
■■ ■ ably large and thankfully quiet. ^
Spacious rooms from $4.00
Dlustrated Folder on request
the
COPLEY-PLAZA
BOSTON
Arthur L. Race, Managing Director
NEW EASY WAY to have the
rv: CLOTHES YOU WANT!
Make your own smart, becoming
wardrobe by entirely new method.
Make 17 garments— daytime, after-
noon, and evening dresses and en-
sembles. All fabrics, patterns, and
supjtlics are included. Just follow
simple directions in modern 100-
Point Plan created by Mary Brooks
Picken, who has helped over 300.000
women to have more and prettier
clothes. No experience necessary.
No waiting: you make attractive
garments the very first day. Send
I at once for free booklet.
MARY BROOKS PICKEN SCHOOL, Inc.
Dept 30, 285 Madison Avenue • New York, N. f.
REDUCE
The Hollywood Way
HERE it is . . . the new Sylvia of Holly-
u i i k ymi have been waiting for.
four Figure is another Mine.
Sylvia book destined to become a besl
A* book thai goes right to the heart of your
troubles and gives you definiti
1 1 ,i helps that will make- yon even more
attractive . . . glamorous ." . . desirable.
fat spells nse in any language. Any
nit.- of the hips puts you in the ma-
tron's class regardless of your years, in
)■.,„, Fiaui ■ Mad im< Sylvia tells
\ to take "ii fat and put it on where
you want it. There's nothing Impossible
about it. In fact you'll enjoy reducing this
rn Hollywood way.
Streamline Your more than a re-
book, it tells you how to acquire
beautiful lugs . . . how to Improve the ap-
pearance of your breasts . . . now to have a
lovely neck ... a beautiful back and a well
propoi Honed fi ce. Tl of this i k
are packed ... the '.run with practical In-
structions Illustrated by ?•'- full page photo-
graphs from life. Moreover, you can
out Sylvia's simple Instructions in the prl-
\ .!■ y of your boudoir.
Mine. Sylvia's new book ami I
the loveliness and physical charm that you
Mip through your fingers. The
i this new hook Is but $1 at all book-
or from publishei s direct,
Macfaddert Book Co., Dept. P5
205 E. 42nd St.. New York. N. Y.
•LITTLE PRINCESS. THE"— 20.it Crxtcry-
Fox.- I
Screen play l>>- Ethel Hill and v.
. Walter Lang. The ( . i; Sara
. Temple: Coeffrey Hamilton. Richard
, Anita l^iuix-; Captain Cre:ee. Ian
Hunter; Han, rtie Minchin,
Arthui Lmaada Minchin, Mary
Sybil Jason; U*d Wickham, Miles Mander;
. . a. Beryl Mi
; Mr.
. l ,. E, Clive; >ulant,
i ,K,k; Bobbie, Keith Kenneth; Grooms, Will
'-.'of, 11,, hue, Herbert,
Guy Belli*; General, Kenneth
Hunter; t Uonel, Lionel Braham.
" MIDNIGHT " — Paramcii-ni. — Screen play by
Charlee Brackelt and Billy Wilder, liasid on a
;.mii J n - 1 n - Mayer. Directed by
Mitchell Lei iidette
Colbert; Tiber i erny, I)<,n An,. /'mw,
] Georges Flammanun, John liarry-
H'l.ne Plammarion, Mary Astor: Mm*.
Simune, Elaine liarrie; Stephanie, Hedda Hopper.
"MY WIFE'S RELATIVES" — Republic. —
I story by Dorrell and Stu;irl MacGowan.
play by Jack Townley, Directed by <.u-
Meins. The Cast: Joe Biggins, James Gleason; Ltl
Higgins, Ru-m'I1
n; Grandpa Higgins, Harry Davi nin.rt; J<an
Higgins, Mary Hart; Mr. Ellis, I'urnell Pratt;
Junes. Maude Eburne; Mrs. Ellis, Marjone
ii ; Tommy Higgins, Tommy Ryan; Bill lillis,
Henry Arthur; Laiic, Sally Payne; Jar. is, Edward
I
"NEVER SAY DIE"— Paramount— Screen
play by Don Harlman. Frank Butler and Preston
Based on a play by Win. 11. Post. Directed
by Elliott Nugent The Cast: Mickey Hawkins,
Martha Raye; J-hn Kidley. Bob Hope; Jeep,
it; Jasper Hawkins, Paul Harvey;
Poppa, Siegfried Rumann; Henry Munch, Andy
; Priiue Smirnu:, Alan Mowbray; Juno,
Gale Sondergaard.
"SERGEANT MADDEN"— M-G-M.— Screen
play by Well- Root. Based on the sU>ry, "A Gun In
11: Hand." by William A. L'lman. Jr. Directed by
.n Sternberg. The Cast: Shaun Madden,
Wallace Beery; .1/ Boylan, Jr.. Tom Brown; Dennis
Madden, Alan Curtis Eileen Daly. Laraine John-
son; .Uary Madden, Fay Holdcn; "Piggy" Ceders,
Marc Lawrence; Charlotte, Marion Martin;
"Punchy," David Gorcey; Milton, Donald Haines;
Stemmy, Ben Welden; Du:e, Etta McDaniel.
"SPIRIT OF Cl'LVER" — L'niversal. —
Original screen play by Whitney Bolton and
Nathaniel West. Directed by Joseph Santley. The
• ■in Allen, Jackie Cooper; liob Randolph 111,
Freddie Bartholomew; Tubby, Andy Devinc; Doc
Henry Hull; Wilson, Tim Holt; Carruthers,
Gene Reynolds; Perkins, Jackie Moran; June
Kathryn Kane; Captain Wharton, Pierre
Watkm.
"TWELVE CROWDED HOURS" — RKO-
RaDIO. — Screen play by John Twist. Directed by
Lew Landers. The Cast: Nick Green. Richard Dix;
Paula Sanders, Lucille Ball; Dave, Allan Lane; Joe
Keller, Donald MaeHnde; Lew Costain, Cyru, W.
Kendall; James McEveen, Granville Bales; "Red,"
Vrledge; Turn Miller, Bradley Page; Thclma,
Dorothy Lee; Her qui si , Addison Richards; Allen,
Murray Alper; Jimmy, John Gallaudet; Rovilch,
Joseph de Stetani.
"WIFE. HUSBAND AND FRIEND"— 20th
CKNTURY-FoX. — Ba>cd on a novel by Jame> M.
Cam. Screen play by Nunnally Johnson. Directed
by Gregory Ratoff. The Cast: Doris Borland,
Loretta Young: Leonard Borland, Warner Baxter;
, limine Barnes; Hugo, Cesar Romero;
rhier; Rossi, J. Edward
Bromberg; Mike C raij. Eugene Pallcttc; Mrs.
lilair. Helen Westli . Ruth Terry; .S'u//y
'.-. Alice Armand; Miss Carver's Secretary,
Iva St.wart; Mrs. Price, Dorothy Dealing: Mrs.
Ericson; Nancy Spraguc, Kay
. Ii Ukins, Harry Rosenthal; Puller. Edward
. Rene Riano; Hertz. Lawrence
Grant; Jane. Charles Williams; Concert Manager,
Howard Hickman; Doctor, George Irving; Hotel
Manager, Harry Haydcn.
"WINNER TAKE ALL"— 20th Cevtury- Fox.
— Screen play by Frances Hy and and Albert Ray.
From an original story by Jerry Cady. Directed by
i Bishop, Tony
Martin; Julie Harrison, Gh ria Stuart; Papa Gam-
bini, Henry Armetta; Muldoon, Shin Summervillc;
Paulte Mitchell, Kane Richmond; Torn Walker,
Robert Allen; Mama Gambini, Inez Palange; Tony
I ii, Johnnie Pirrone, Jr.; ,lro dc
\iaria Gambini, Betty Greco; Rosa
Gambini, Eleanor \irzie.
"YOU CANT CHEAT AN HONEST MAN"—
-al. — Original story by Charles Bogle.
Marshall. The Cast: Larson E.
Whipsnade, Vi en. Himself;
"Charlie McCarthy." Himself; Princess Baba, Her-
Constai ''■■ ' re; 3d
I Mary Forbes; J ' olemaaj Mr
rhurston Hall; Phineas Whii
>.,er Bel-Goodie, James Bush;
i ■ ! \ loi ; So iely Girl, Dorothy
Id: Porter, Eddie Anderson; "Mortimer Snerd, '
Himself.
100
V, f MALL PNINTIrWO CO
PHOTOPLAY
MELEN MACFADDEN now gives you new secrets of
lant ^Tove/mess
CONTENTS
IKE THE R:
O BEAUTY
mre or
tg Physical and Facial Traits
uxc love:, ixess ~ roci s xix
U Banish Skin Defects • Facial Creams and the
Face Mask • Some Complexion Facts
BEAUTY IX YOUR BATH
Bathing — Its ll'hys and li~kcrcf<?rcs • The Snn-hath and
: -
FROM YOUR FOOD
Contrj-
- r Yonr Fc-:
F YOUT7
t'hy the Wise Exercise • t,xercisiwj Indoors ar i
doors • Deep Breathing Helps BnUd Beanty
rSTROUS HAIR CAN" BE YOURS
•Ar Can Spell Charm • Added Beanty for Yonr
i Types of .
iEP THE EYES OF YOUTH
r Eyes— But Safely • H'hat Yon Shonld
lissage and Excr:
Eye Beanty
lSTTXG BEAUTY FOR YOUR TEETH
is Promote Tooth Health - The Tooth Bmsh and
Tooth Beanty • Exercising Teeth and Cunts
rHAXCE YOUR FACIAL BE.
Accen: • Jl'ays to Wake Up
- Range Properly
_ yp YOMm TTFE
Wwrrrint Choose
Colors Best for Yon • Improving Eyebrotes and Eyelashes
.AMOUR CAS BE YOURS TOO
Hotc Screen Stars Acq* -to Improve
Facial Ontlines • Personality Pins Can be Cultivated
ULY STEPS IX BEAUTY- BUILDING
Practical Beanty Programs for Home and OS.v Cirls
• Routines to Beautify Yonr Form • Hobbies that Pay
Beauty Dizui
IS HER FIR^T BOOK
HELP YOURSELF TO BEAUTY
\7OU need no longer wish for beauty. You
X ed no longer envy any girl. For alluring
beauty and radiant loveliness can now be
yours. Not bv magic, but bv adhering to the
startling - revealed bv Helen Macfadden
in her exceptionally practical book Help Your-
self to Beauty.
Here, without doubt, is one of the most re-
markable books of our time. A book that tells
you how to develop radiant health . . . how to
add new loveliness and glamour . . . how to
keep the glow of youth— at all ag
Daughter of Bertiarr Macfadden
The author of Help Yourself to Beauty is the
daughter of Bernarr Macfadden— Amer:
No. i health exponent. Helen Macfadden. no
novice as a writer, has contributed dozens of
outstanding beauty articles to Physical Cul-
ture and other leading magazines. But she has
d her most successful beauty secrets for
this great new book Help Yourself to Beauty.
Here you will discover for the very first time-
how through easy, simple methods you can
reach out and acquire real beauty . . . la<: _
beauty.
Former Ziegfeld Follies Girl
Helen Macfadden was one of the late Florenz
Ziegfeld's glamour girls. Manv of the beautv
secrets described in Help Yourself to Beauty
were acquired from the great impresario him-
ONLY $1. 00
ON SALE AT ALL BOOK AND DEPARTMENT STORES
HELEN MACFADDEN
self. Others were taught
her bv her father. Ber-
narr Macfadden. Yet
most of the startling new
aids to beauty were
gleaned bv personallv
interviewing and study-
ing some of the most
lovely ladies in Amer-
ica. This is why Help
Yourself to Beauty i~ -
important . . . so essential to your future love-
line- ssary to your future happii.
U Jke Up Your Latent Beauts
Few women realize that they themselves hold
the key to their own beaut\. Few women
realize that thev can accent their beautv to
glamorous proportions by merely knov
how to camouflage their defects and fcatur<
their natural loveli:
Yes, beauty is something that can be won
and Help Yourself to Beauty is the book that
will win it for you. For packed bet wee i
1 80 exciting pages are manv tricks to magnify
your beauty and develop in yourself that
lightful and exciting thing known as allure.
That elusive quality which makes all the dif-
ference between an ever) rson and a
romantic, thrilling personality.
The ' orrat new
book is but $1.00 at at books**-
Bernarr Macfadden say?: "In anv pan of the
world — even in this dav of beautv-culture — iou
mav find girls and women who appear le^s beau-
tiful than they should be. Important as anv ex-
ternal means to enhance beautv mav be. I am con-
vinced that the sources of beautv and al'.ure are
not merely superficial, but are deep seated. That
Help Yourself to Beauty reflects a feminine mind
—as it happens mv daughter is the author— seems
to promise a more fitting touch than might attend
treatment of the same subject on mv part. And
this promise. I believe, is fulfilled in thi< book.
"You should find it a safe ar. I le to
charm and beau:
I
ac postac-
Beanty It Hekn Macfaooca. I cadatt
• WITNESSED STATEMENT SERIES:
*$OLV AM*"*"
MEANS FINE TOBACCO FOR LUCKIES
F. E. McLAUGHLIN, auctioneer, has been "in
tobacco" for 13 years. He says: "I've never
yet seen Luckies boy anything but the best
tobacco... so I've smoked them since 1928."
'
/fave you tr/ee/a
£ucky /ate/y ?
0*
Easy on Your Throat -
Because!) rS TOASTED
TOBACCO crops in the last few years have
been outstanding in quality. New methods,
developed by the United States Government
and the States, have helped the farmer grow
finer tobacco. As independent experts like
F. E. McLaughlin point out, Luckies have
always bought the cream of the crop. Thor-
oughly aged, these fine tobaccos are
now ready for your enjoyment. And
so Luckies are better than ever. Have
you tried a Lucky lately? Try them
for a week. Then you'll know why . . .
With Men Who
Know Tobacco Best-
It's Luckies 2 to 1
CopjT^H l"». TW Amm* Totorr* C«-r*»*x
i
>
»
A
CLOTHES FOR THAT SUMMER Rr MA]
Exclusive Movie Fashion Forecast Starring IV
BY ELSA MAXWELL: The Unconventional Side .
JTY THROUGH SURGERY- Revealing Secret Methods I.
efuls
•ft
*•«
«;««•••
sV
w
: <
\
*r
s+Z
***'
\l
W
Until Kotex made 3 sizes I had to cut and
St ray napkins to suit my varying
daily needs. Now with Regular, Junior
uper Kotex it's a simple matter
for even* woman to meet her individual
needs trorn one day to another.
°\ QoyxVm "^vftV ^wacSL>
Then I found out about Kotex Sanitary
Napkins and the patented pressed ends
-now I'm free to ^o about
my normal life without discoml
LTTassment. No more blunt, bulky
I il me!
My days of experimenting are over— Kotex
Sanitary Napkins are made with layer
after layer of soft, filmy tissue that one
after another absorb and distribute
hout the pad; check
that striking through in one spot. I
don't worry about shifting, pulling or
chafing with KotaxI
VjtXe^ S-*4* Jscte^L"" Wettea ^&*t l{<rn.
KOTEX* SANITARY NAPKII
Trade Mark Re,j. V. S. Fat. Offict
NURSE: LUlerine Tooth
.. My, Paste it designed to »o to
**•»." w.k-1. on the tinv pit- and
- in enamel — the dan-
ger zone* where 75 ^ ••( de-
•:art-
^HEN ARE YOU GOING TO TRY IT?
LOU: I . jw it to me! I'm
t-tiiii: everything, includinz
tooth |>a-te. Ami what a DNOCJ -
- N Ljsterine T-x>th
Pa-t-- ii.
Don't be so wedded to old favorites
that \ou ariss out on the utterh differ-
ent, wholly delightful action that \ou
^•■t \%itli Luster-Foam detergent in the
\. u Listerine Tooth Paste, You'll
wonder why yon era
an\ other pa-te.
At the fir^t touch of -ali\a
ami brush. Luster-Foam de-
tergent leap- into an ar"-
m a t i c . d a i n t v . f o a m i n g
"babble bath" that w
up the mouth. It - _ r. around,
and in between the teeth to accosn-
pli-h cleansing that you •liiiti't l>elieve
possible. And what daxzlins
it gi
. know thi- n<« dentifrice must
U- delightful, because six milbon
of it were Bold in 90 'la\-. In t*>
Domieal - - ami big
double-sis . containing
than 4 of a pound of t<»>th :
Lambert l'harma" al (Jo.. >J. Lout -
THE NEW FORMULA— Smperrkarged witi LUSTER-FOAM
P.S. LISTERINE roOTH POWDER ALS4 UNS LUSTER-fOAll
1939
IT'S HARDY FAMILY
FUN AGAIN!
No. 6 in the Hardy Family hit parade... as these
beloved folk become "millionaires for a day"! Hilarious
...as Andy struts in top hat and "Tux" and dates a
cabaret glamor girl... love finds Aunt Milly ... Marion
knocks the stores for a row of charge accounts... Mom
settles for a frying pan . . . and the Judge winds up with
a silk hat ... and the bills!
The Hardys become millionaires overnight!
And what fun!
THE HRRDY5
RIDE HIGH
with
It's a scream when
Mickey gets tricked into
a night-club cabaret —
and a gorgeous chorus
girl tries to frame him.
LEWIS STONE
MICKEY ROONEY
CECILIA PARKER
FAY HOLDEN
Screen Play by Agnet Christine Johnston,
Kay Van Riper & William Ludwig • Directed
by George B. Seitz • An M-G-M Picture
PHOTOPLA
r4T
°r MOTION ***
ERNEST V. HEYN
EXECUTIVE EDITOR
HEYWORTH CAMPBELL
RUTH WATERBURY
ART EDITOR
EDITOR
FRED R. SAM M I S
ASSOCIATE EDITOR
HIGHLIGHTS
OF THIS ISSUE
NEWS
VIEWS AND
REVIEWS
On the Cover — Belie Davis, Natural Color Photograph by Paul Hesse
Best Wishes, Caro'.e Lombard Gab'.e! Dixie Willson 13
A poem — inspired by the tinkle of wedding bells
Introducing — The Unconventional Side of Hollywood . . Elsa Maxwell 14
Hollywood still has colorful people, writes America' s famous party giver
From Ranch to Riches Ruth Rankin 16
Hollywood discovers redheaded Ann Sheridan, Texas tornado.'
The Stars Are Lonely, Too ! Faith Baldwin 18
Can loneliness be cured? The stars have found an answer
Lewis Stone Is Really Judge Hardy Gladys Hall 20
A revealing portrait of a beloved star
Beginning — Bright Victory Howard Sharpe 22
The enthralling life history of George Brent, born to fight
Beauty Through Surgery Gretta Palmer 25
Disclosing secret methods of beautification dared by screen hopefuls
Juarez — The Life History of a Movie Nancy Naumburg 25
Step Two in the amazing growth of a superfilm
The Dilemma of Lamarr Adele Whitely Fletcher 28
Why glamorous Hedy is Hollywood' s biggest question mark
A House to Live In ! Dorothy Ducas 32
No need to be envious of the stars — build a home like theirs.'
Photoplay Fashions Gwenn Waiters 45
Exclusive Movie Fashion Forecast Starring Irene Dunne
Second Chance Nina Wilcox Putnam 62
Concluding — the story of a great star's comeback
The Camera Speaks: —
Hollywood by Candid Light 30
Faces, famous and familiar, as seen through the Fink lenses
Here's Swope Again! 36
Beauty and drama framed by a master photographer
10 and the Same Girl 38
Ginger Rogers — beginning with "then,'' ending with "now''
The Cowboy and the Lady 40
A brand new game for Photoplay readers to puzzle out
News from Neptune 42
Brief fashions for summer bathing beauties
Brief Reviews of Current Pictures 4
Boos and Bouquets 6
PHOTOPLAY'S Own Beauty Shop Carolyn Van Wyek 8
1933's Gold Medal Winner 10
Close Ups and Long Shots Ruth Waterbury 11
Cal York's Gossip of Hollywood 55
The Shadow Stage 58
We Cover the Studios Jack Wace 60
How Well Do You Know Your Hollywood? 87
Complete Casts of Pictures Reviewed in Th:: Issue 92
VOL ML, No. 6, JUNE, 1939
Published MorUhtf by Macfadden Publications, Inc., 333 N. Michigan Ave., Chicago, 111. • Bemarr Macfadden, President • Irene T. Kennedy,
Treasurer • Wesley F. Pape, Secretary • General Offices, 205 East 42nd Si., New York, N. Y. • Editorial and Advertising Offices, Chanin
Building, 122 East 42nd St., New York, N. Y., Curtis Harrison, Advertising Manager • Charles H. Shaltuck, Manager, Chicago Office • London Agents,
Maciadden Magazines, Ltd., 30 Bouverie St., London, E. C. 4 • Trade Distributors Atlas Publishing Company. 18 Bride Lane, London, E. C. 4 • Yearly
Subscription: $2.50 in the United Stales, $3.00 in U. S. Possessions and Territories, also Cuba, Mexico, Haiti, Dominican Republic, Spain and Pos-
sessions, and Central and South American countries excepting British Honduras, British, Dutch and French Guiana. $2.50 in Canada and Newfound-
land. All other countries $5.00. Remittances should be made by check, or postal or express money order • CAUTION— Do not subscribe through
persons unknown to you * While manuscripts, photographs and drawings are snb— itted at the owners' risk, every effort will be made by this organ-
isation to return those found unavailable if accompanied by sufficient 1st class p;r:ar- sr.d explicit name and address. But we will not be responsible
for any losses of such matter Entered as second-class matter April 24, 1912, at the post office at Chicago, III., under the act of March 3, 1879.
Copyright. :?39, by Macfadden Publicise- 1 fnc Beg tfn Kaciona] - uaL
CouMuit This Movie Shopping
iiuitlv and Saw 1 our Tim v.
M o » v 11 a n d It i s /» asiti o »
BROADWAY SERENADE— M-G-M
DODGE CITY-Warneri
EAST SIDE OF HEAVEN— Unlvarul .
HOUND OF THE BASKERVILLES, THE-SOth
CenturyFoi
I'M FROM MISSOURI-Par amount
KID FROM TEXAS, THE-MGM
KING OF CHINATOWN-Paramourrl
LADY'S FROM KENTUCKY, THE— Paramount 59
LOVE AFFAIR-RKO-Radlo 89
SOCIETY LAWYER-MG-M 59
STORY OF ALEXANDER GRAHAM BELL.THE
—20th Century-Fox 58
STORY OF VERNON AND IRENE CASTLE, THE-
RKO-Radio 68
SUDDEN MONEY-Paramount 89
THEY MADE HER A SPY-RKO-Radlo 19
THREE SMART GIRLS GROW UP-Univerul 89
WITHIN THE LAW-M-G-M . 89
WUTHERING HEIGHTS— Sam Goldwyn-Unitad
Artists 68
ZENOBIA-Hal Roach United Artiiti 58
When an American playboy, allergic to
marriage, meets up with a Swiss Miss,
who likes to flirt, anything can happen
— and it does — in M-G-M's "Bridal
Suite," with Robert Young and Annabella
• INDICATES PICTURE WAS ONE
OF THE BEST OF THE MONTH
WHEN REVIEWED
ADVENTURES OF HUCKLEBERRY FINN, THE-MGM
It's a shame that Mark Twain's great classic of boyhood should
have received such unhappy treatment. Mickey Rooney in the title
I en almost no chance to display his talent. If you loved the
Original story and like Mickey, skip this — it will save embarrass-
ment all around. (May)
• AMBUSH-Paramount
blood and thunder and shooting with Ernest Truex as
the sinister brain behind a sang of bank robbers who. in pursuing
their deviltry, are forced to abduct Gladys Swarthout and Lloyd
Nolan. The surprise Is Miss Swarthout who doesn't sing a note
but manages to give an impressive performance. (April)
• BEACHCOMBER, THE-Mayflower-Paramount
Somerset Maugham's tale of the regeneration of an English wastrel
lea of the Pacific by a fanatical female missionary has lost
;ts brilliance and laughter in the screening, nor lias Charles
I ri lost any of his luster. Add to this fine production Elsa
A-anchester's acting and you have a movie masterpiece. {March)
BEAUTY FOR THE ASKING-RKO-Radio
lure. V< u with the problems of a girl
jilt-- her for a woman with ten
millions. The outcome N <>f little imj>ortance (except to the income
tax department). Lucille Ball, Frieda Inesoort, Patric Knowles
and Donald Woods work against hope. {April)
CLONDIE MEETS THE BOSS-Columbia
The irresistible Dumpsteads return for the second lime. When
1 ike) is fired, Blondit- (Penny Singleton) takes
bis place leaving him at home to sweep and sew. Meanwhile Baby
Dumpling and Pai^y the pup are cutting capers and things go hay-
wire. Skinnay Knni> and his band contribute a well-done jitterbug
sequence. (May)
BOY SLAt/ES RKO-Radio
re an inveterate reformer, you'll probably love this. With
the Deep South as locale and paints a brutal
i child labor as it is supposed to exist. Anne Shirley, James
McCallion and Roger Daniel all do exceptional work in morbid
characterizations. (April)
BOY TROUBLE-Paramount
Papa and Mama Filch (Mary Boland and Charles Ruggles)
adopt two boys. Donald O'Connor and Billy Lee. and meet the
inevitable troubles of everyday living with unfailing humor. Pile
the whole family in the car — they'll like this. (April)
BURN 'EM UP O'CONNOR-M-G-M
First of another new series, this has Dennis O'Keefe as the
country boy who likes to race cars, and uses the midget-motor
racing field as locale. Cecilia Parker is the car manufacturer's
daughter. Love shines, there is conflict with a crooked race trac^
doctor, and Life goes on. {March)
• CAFE SOCIETY-Paramount
A hectic comedy about a wealthy young woman who marrie3
a ship news reporter to spite a columnist. The piayers, Madeleine
Carroll, Fred Mac Murray, Claild i et al. have lots of
vitality and there are lew dull moments. ^April)
CHARLIE CHAN IN HONOLULU-201h Century-Fox
The witty Oriental detective's newest adventures deserve
special mention as there is a new Charlie Chan. Sidney Toler. He
does not copy the late Warner Oland, but the result is startlingly
I here are some pretty tough passengers on his Honolulu
id better bring your smelling salts. (March)
CHRISTMAS CAROL, A-M-G-M
fully produced in the sentimental spirit in which it was
written by Dickens. Reginald Owen plays Scrooge, the miser who
nubug until three gl show him his
mistake. Terry Kilburn is delightful as Tiny Tim, the cripple,
and the Lockharts (Gene and Kathleen) are Mr. and Mrs. Cralchil.
(March)
CODE OF THE STREETS— Universal
The Little Tough Guys come out in this dreary movie as a
:ly impossible bunch of youngsters. One guttersnipe is
fiamed on a murder charge and there's plenty of moral pointed
about crime not paying. (April)
• DARK VICTORY-Warners
Y u may have heal ver this picture and they are all
true. Bette Davis' matchless acting reaches new heights ;i- the rich
\ . »ime v:irl who learn- she only has a tew monl I
Ives her problem in the
best way i> ssible. Geraldine Fitzgerald mer, Brent and
Humphrey B plendid too. A must. {May)
FAST AND LOOSE-M-G-M
Robert Montgomery and Rosalind Russell are the screen's
iddilions to the Ions line of married couples who areamateur
sleuths.' They work like bi >w up the guilty party who
murdered a rich bibliophile. You may be annoyed at the e.
which you yourself can pick "wh dunit May)
FISHERMAN'S WHARF— Prlncipal-RKO-Radio
ccharine than Its predeci allows Bobby Breen
ipli. en ) to live with Leo Carrillo and Henry Armetta
and fu~s around with fish and a n cent. He sings a few
song:- in the usual manner. (April)
(Continued on page 90)
PHOTOPLAY
■■
/nmwictrft
THE PICTURE
MAGNIFICENT!
The story of Juarez, Mexican flame
of freedom . . . moulding a fiery-
hearted people into a nation that
toppled a throne I . . . The story of
Carlota, empress to Maximilian . . .
burning her fateful romance into the
pages of history I . . . All in a glori-
ous human drama sweeping through
scenes never matched in. action,
splendor and power ! See "Juarez" at
your theatre soon ! The picture that
shows how great the screen can be t
WARNER BROS. PRESENT
PAUL MUNI-BETTE DAVIS
"J UAREZ"
evtcn
BRIAN AHERNE
CLAUDE RAINS • JOHN GARFIELD • DONALD CRISP
JOSEPH CALLEIA • GALE SONDERGAARD • GILBERT ROLAND • HENRY O'NEILL
Screen Play by John Huston. Aeneas Mackenzie and Wolfgang Reinhardt • Based on a Play by Franz Werfel
and the Novel, "The Phantom Crown," by Bertita Harding • Music by Erich Wolfgang Komgold
JNE, 1939
/*
BOOS AND
I
She's a newcomer and she'll go places — this
redheaded Susan Hayward, who simply walked
into Paramount Studios and asked for the
feminine lead opposite Gary Cooper and Ray
Milland in "Beau Geste." P.S. She got it
IT'S A BOY - - ER!
'IOV
L:
|OVE AFFAIR," Charles Boyer's latest pic-
ture, had the critics unanimously putting
,on rose-colored glasses, and no wonder.
That guy is dynamite! He has no fan following
of giggly seventeen-year-olds pestering him for
pictures, but just mention his name to any
woman, say thirtyish, over a dinner table, and
she- forgets her gloves, fumbles her lipstick and
generally acts like a person in a dream. Look-
ing over a recent list of movies playing in New
York, I was interested to see that five Boyer
pictures wire playing at one time. Of course,
one was a French picture, one his new picture,
the rest revivals. But, just the same, there
were five. To steal a line from Justice Hughes,
"The American people generally get what they
want" and they want Boyer — obviously. Since
he came to America eight years ago, he has
had a big studio build-up, or stupid sen-
sational romai t his name on the front
n'1 need thai sort of thing. He is
dynamic, inti >n without being so-called
"glamorous." and above all. he is a superb actor.
l)t mm: Ansei.ma,
San Antonio, Texas.
MADE FOR EACH OTHER
WE went to • for Each Other" at a
time when my husband and I were telling each
other that "It's always darkest before dawn,"
etc. We came away from the theater more
firmly convinced than ever that our life to-
gether is still the Great Adventure.
HOTOPLAY ANNOUNCES that prizes
:.ill no longer be awarded for letters
appearing on this page. Unfortu-
nately, some of our readers have not
played fair with its, inasmuch as
they have submitted and accepted
checks for letters which havt
prizes for them in oilier magazines.
On the other hand, many of our
readers have looked upon this as a
contest department and for that
reason have failed to send in their
spontaneous and candid opinions
concerning the motion-picture in-
dustry, its stars or pictures. It is our
aim to give the public a voice in ex-
pressing its likes and dislikes con-
cerning this great industry. This is
your page. We welcome your
Photoplay reserves the right to use
gratis the letters submitted in whole
or in part. Letters submitted to any
contest or department appearing in
Photoplay become the property of
the magazine. Contributions 'will not
be returned. Address: Boos and
Bouquets, Photoplay, 122 Bast
■12nd Street, New York, N. V
Like the couple in tie picture, we have a son,
who also started out in life with a spanking —
and like them, we have suffered agonies of anx-
iety through his illnesses. Bewildered, fright-
ened, sometimes despairing, we have gone
through our years together — sometimes steering
clear of pitfalls, sometimes falling into them:
But we have gone along together — not always,
of course, in harmony — too often in misunder-
standing and anger — but still together!
Sorrows and joys shared marry people far
more thoroughly than any ceremony, just as
the storms and dangers of an ocean voyage are
remembered 'long after the calm and unevent-
ful days of the trip are forgotten.
Mrs. Ann B. Bolin,
Columbus, Ohio.
BE ASHAMED OF YOURSELVES!
A BIG Boo to the male public. I was always
under the impression that a jealous woman
could do a lot of harm but, in comparison to
you men, we're perfectly harmless. Look at
what a bunch of silly jealous men did or tried
to do to Robert Taylor. They resented his good
looks, they branded him as a sissy and I, fcr
one, am glad he has hair on his chest and has
proven himself a he-man. Yet someone had
the nerve to say you men stood together.
Don't think for one minute we women didn't
resent Hedy Lamarr's beauty. She set a new
high in glamour. But did we try to wreck her
career? We did not — we accepted her and are
n< w trying our darnedest to reach that new
high.
And now you're after Richard Greene. You
say he's too good-looking and you might suc-
ceed in ruining this young man's career, be-
cause he's not as well-established as Robert
Taylor was.
All I can say is you ought to be ashamed of
yourselves! He's new and not such a good actor
as yet, but give him a break!
Jane A. Malchow.
Oshkosh, Wis.
G. WITH THE W.
MORE than any one factor, I'll bet that Vincen-
tini drawing in Photoplay of Gable as Rhett
Butler was responsible for David Selznick's long
wait for M-G-M to loan Gable for "Gone with
the Wind." That suited everyone because Gable
filled every one of the physical requirements
for the part. Yet, you'd think from the squawks
that are rising all over America that Vivien
Leigh was in no way suited for the role of
Scarlett.
Why in the name of all that's holy is it any
worse for Vivien Leigh to portray a Southern
belle than it was for Gable to play the English
Fletcher Christian or Power to be the French
De Lesseps? If foreign countries protested like
we do when an American portrays one of their
countrymen, in all likelihood there would be
no foreign market for American films.
Remember Ed Sullivan's* story about Rob-
ert Taylor "Give the Kid a Break." Photoplay
started the campaign to lay off unfair cracks
about that young man. How's it for a story
along those line's about the beautiful young lady
who's behind the biggest eight-ball in Holly-
wood, Scarlett O'Hara?
Robert Finlay,
Glen Allan, Miss.
* (The story was called "Give Robert Taylor a
Break," written by Ed Doherty for the November,
1937, issue.)
HORRORS!
I HE shake and shiver boys, "Frank" and
"Drac," nee Boris Karloff and Bela Lugosi, were
lauded as tops at portraying "bogey men" and
monsters. That was several years ago. Then
last summer the same pictures swept the na-
tion and again broke box-office records. Once
more audiences' spines tingled; their eyes
rounded: their breaths came in expectant gasps
as they watched the twin horror bill.
"Dracula" and "Frankenstein" were the two
most successful oldies revived. Yet the "theys,"
who make or break careers, gave the credit to
(Continued on page 84)
PHOTOPLAY
SONG BY SONG. ..SCENE BY SCENE. ..THE THRILL GROWS GREATER!
\"rl
The stars of "Alexander's Ragtime Band"
live their love story in the music of today
and yesterday! Al Jolson sings his songs
once again in the way that made them
great! Another grand picture opens the
gates of memory to the past you want
to remember !
«P
Q<
4*
&&
«<*
^
~4t
. Jo\}<*
hmw
c»o'
son
tecte
d^V
.sv
^G
^Cfly v^V>*°
the Girl Love Couldn't
Crush . . . No Matter
How it Tricked Her!
'Listen! .. .1 love this man from
here to breakfast! Want to
make something of it? He's
tricky? So all right, he's tricky!
He's hurt me? So what?... I love
swing of today. . . Gordon & Revel's
latest hit, "I Never Knew Heaven Could Speak
JUNE, 1939
SUMMER SYMMETRY— It's unusual, even
in Hollywood, and between scenes on a
motion-picture set, to see an attractive girl
in a battling "Uit doing the frog walk across
the floor while everyone else on the set calmly
w;.lks around her if she gets in their way.
But that's exactly what happened on the set
of the new "Blondie" picture at Columbia. After
finishing her unusual walk, Penny Singleton
straightened up and then relaxed into a chair.
'What goes on here?" I asked her. "Any-
thing for a laugh? Or is there a deep hidden
purpose behind all this?"
"Oh, yes." she laughed. "I got up too late this
morning to do my usual exercises, so I'm catch-
ing up on them now between scenes. I like the
frog walk especially, because it keeps you lim-
ber and supple and is fine for the legs and
thighs."
"Look," I said, thinking of Photoplay's Beauty
Shop right away, and knowing you'd be inter-
d, "how about posing for some pictures il-
lustrating some of your favorite exercises, so
can see exactly how they're done?"
Penny agreed to this; and you can see the re-
sults on this page.
This is a particularly apt time of the year to
get ourselves all interested in exercises, because
I vr a pretty good suspicion that most of us have
n rather neglecting ourselves for the last few
months. You've probably been too busy taking
.our faces and experimenting with new
Lng make-up, and wondering whether or not
..ur hair cut short— after all. it takes so
Umg for it to grow out a.nain if you don't like it
short and babyish really to keep up with your
daii
But if you want to keep yourselves graceful
and slender, with a perfectly proportioned fig-
ure, exercises are vitally important to you. Ex-
cess weight or too heavy thighs often do not
seem quite important enough in the wintertime,
when you're so busy running around, to do very
much about your figure, but summer somehow
makes you more acutely conscious of it. So
Penny and I worked out these exercises that are
practically guaranteed to give you a stream-
lined figure, if you follow them faithfully for a
few weeks.
The frog walk (Exercise A) is one of the most
difficult to do, but it's one of the most beneficial
for you. The idea is to support yourself on
your hands as you walk across the floor.
You know that the ideal feminine figure is
changing. Waists should be smaller now and
hips a trifle more rounded to be absolutely ideal;
and since dresses are getting shorter by the min-
ute, the legs should have a softly rounded,
(Continued on page 81)
For thai streamlined figure — Penny Sin-
gleton, star of Columbia's "Blondie"
series, shows you how it's done. The frog
walk (above, lower picture) is Exercise A
in her Daily Dozen. An old stand-by, Ex-
ercise B, is illustrated by upright posi-
tion (right) and squatting position
above, top). Penny's no sissy — just
ook at Exercises C and D (adjacent)
I
*4
PHOTOPLAY
Flower-fresh" she emerges from the tub
and she'll stay that way with Mum
Smart girls know that a bath alone can't prevent underarm odor
YOUR bath is over— how gloriously fresh and
sweet you feel! How easy to think tonight will
se your night— tonight you'll win romance! But
;vill you? Not if you trust your bath, and your bath
done, for lasting charm.
It's true. No matter how fresh you feel when
low start on your date, no bath can keep you sweet.
For even the most perfect bath can't prevent odor—
inderarms always need Mum's special care!
Smart girls— popular girls— don't take chances.
Fhey know a bath removes only past perspiration,
sut Mum prevents odor to come. To be sure they're
sweet, they give underarms necessary daily care—
ifter every bath, before every date. More women use
Mum than any other deodorant. Mum is so pleas-
mt, so easy to use, so utterly dependable. You know
Ddor is impossible when you use Mum every day.
WUM IS SAFE! It's wonderful to be able to use Mum
before or after you're dressed. The American Insti-
tute of Laundering Seal tells you Mum is harmless to
any kind of fabric. And you can use Mum even after
underarm shaving. Mum is soothing to your skin!
MUM IS QUICK) Late for your date? No matter! A
touch of Mum smoothed under this arm, under that,
keeps you fresh for hours! Takes only 30 seconds!
MUM IS SURE! Without stopping perspiration, Mum
stops underarm odor. Get Mum at any drugstore to-
day. Make sure you can't offend! Remember, if you
neglect your Mum just once, you are likely to be the
loser. Play safe with your charm! After your bath, and
before your date, make a habit of Mum.
MUM HELPS YOU THIS WAY, TOO.' Thousands
of women prefer Mum for sanitary napkins because it's gen-
tle, safe. Avoid embarrassment— always use Mum this way!
Mum
Popular girls neter neglect the one quick
step between bath and date that makes them
sure of charm. They know Mum makes
underarm odor impossible all evening long.
TAKES THE ODOR OUT OF PERSPIRATION
JUNE
939
THE DOWER SERVICE FOR II
WEAR -PROOFED^TUDOR PLATE
You save $10 on this exquisite service! Designed for the lovely bride whose cherished
dream is complete silverware for eight! The $29.75 "Dower" set includes eight knives,
forks, oval soup spoons, salad forks, and individual butter knives . . . sixteen teaspoons
two serving spoons, sugar spoon, butter knife, cold meat fork. In a solid wood tarnish-
proof chest, approved by Good Housekeeping Institute. Convenient terms available.
Wear-proofed guarantee shows how
"area of wear" is protected by special over-
lay of solid silver.. .for years of extra service.
Authentic popular patterns styled by Oneida Com-
munity Silversmiths, Tudor Plate* patterns satisfy
every' taste in table settings for every occasion.
• abOVtt Fortune,* Royal York,* Elaine,* June.*
$1.50 Deluxe server for 25d to introduce
new Fortune design. This delicately pierced
useful Fortune serveris the ideal prize orgift.
TUDOR
PLATE
b
ONI IDA COHM1 miv
SILVERSMT1 HS
COP". !••• ONOOA LIO.
PHOTOPLAY'S
GOLD MEDAL
WINNER
"SWEETHEARTS"
THE choice was yours! But now we
announce with pleasure that Metro-
Goldwyn-Mayer's delightful musi-
cal "Sweethearts," which teams Nelson
Eddy and Jeanette MacDonald, is the
final selection of our readers for Fhoto-
play's Annual Gold Medal for "The Best
Picture of 1938."
Votes from all over the United States
and many from abroad testified to the
high regard which the public had for
such excellent pictures as "Alexander's
Ragtime Band," "Four Daughters,"
"Robin Hood," "If I Were King," "You
Can't Take It With You" and others of
equal merit, but "Sweethearts" won,
hands down.
Although this is the fifth time this
famous screen pair have collaborated,
it is their first picture in modern dress.
Never have they been photographed to
better advantage, never have they sung
so beautifully, never has the produc-
tion and surrounding cast been so lav-
ish. Technicolor, of course, was an
added enhancement and red-haired Miss
MacDonald was breath-taking.
Victor Herbert's lovely melodies have
been popular for a quarter of a century,
which is another reason for the success
of "Sweethearts" at the box office. Dor-
othy Parker and Alan Campbell used
the lavender and old lace libretto as a
skeleton and built around it a sprightly
modern love story — a back-stage yarn
of two married lovers appearing in the
operetta. This allows you to hear the
familiar "Sweethearts," "On Parade,"
"Pretty As a Picture" and "Badinage,"
among others, all thrillingly sung by the
principals.
Although the picture belongs chiefly
to Mr. Eddy and Miss MacDonald, the
supporting cast included Florence Rice
as the secretary, Frank Morgan as the
conniving manager, Reginald Gardiner
as the smoothie talent scout from Hol-
lywood, Mischa Auer as the amusingly
temperamental librettist. W. S. Van
Dyke, who has directed some of the
team's other musicals such as "Rose
Marie" and "Naughty Marietta," was
responsible for "Sweethearts." Men-
tion must also be made of Herbert Stot-
hart's superb musical ' direction, Al-
bertina Rasche's dance arrangements,
Ray Bolger's dancing (remember the
clever wooden shoe number which he
danced with Jeanette? ) and the photog-
raphy in general. Minor roles offered
Lucile Watson, Terry Kilburn, Gene
and Kathleen Lockhart, Betty Jaynes
and many others. Altogether it was
one of the most impressive productions
pictorially and musically that Metro-
Goldwyn-Mayer have ever screened.
Photoplay's Gold Medal, as you
know, has been awarded for the past
mi years as an encouragement to
the making of better pictures. It is the
only prize in the motion picture busi-
ness that is given really by you — the
public. As such, it is considered a great
honor by the studio, by the director, by
the actors involved. Photoplay's rec-
PREVIOUS
GOLD MEDAL
WINNERS
1920 HUMORESQUE
1921 TOL'ABLE DAVID
1922 ROBIN HOOD
1923 THE COVERED WAGON
1924 ABRAHAM LINCOLN
1925 THE BIG PARADE
1926 BEAU GESTE
1927 7TH HEAVEN
1928 FOUR SONS
1929 DISRAELI
1930 ALL QUIET ON THE
WESTERN FRONT
1931 CIMARRON
1932 SMILIN' THROUGH
1933 LITTLE WOMEN'
1934 BARRETTS OF WIM-
POLE STREET
1935 NAUGHTY MARIETTA
1936 SAN FRANCISCO
1937 CAPTAINS
COURAGEOUS
1938 SWEETHEARTS
Our readers' choice for the
best picture of 1938 — Nel-
son Eddy and Jeanette Mac-
Donald in "Sweethearts"
ord has been consistently high; we have
reason to be proud of our honor pic-
tures as you can see from the above list.
It is gratifying indeed to extend to
M-G-M studio our congratulations and
to add to our Gold Medal Honor list
"Sweethearts" — our readers' choice as
"The Best Picture of 1938."
PHOTOPLAY
Things to cheer about — those breaks
that are coming to Don Ameche
ahd Richard Greene . . . "but on the
other hand," says Miss Waterbury,
"look what's happening to others"
CLOSE UPS AND
LONG SHOTS
BY RUTH WATERBURY
THINGS an Editor Thinks About be-
tween reading stories, looking at
photographs, catching previews,
eating publicity luncheons, trying to
think up story ideas, and wishing she
had a new mink coat: funny that even
illnesses have cycles in Hollywood . . .
a couple of years ago it was fash-
ionable to have trouble with your sac-
roiliac ... at first you didn't dare ask
what a sacroiliac was. for fear it was
something you couldn't mention in the
parlor . . . but finally it got so common
that everybody knew . . . now the
vogue is to have stomach ulcers ... go
to dinner anywhere and along with the
spinach you get talk of digestive dis-
turbances . . . but no wonder . . . when
you consider the dependence of stars on
the roles they get . . . you wonder how
they even stay well, let alone live for
years and years. . . .
Take Charles Boyer . . . and some-
thing very pleasant to take he is, too . . .
if he'd gone on playing Napoleons as
in "Conquest"' probably he would have
become another Muni . . . that is most
artistic . . . but not pulse-pounding
. . . but what with "Algiers" and now
with "Love Affair" he becomes a very
logical contender for the adult sex-ap-
peal spot so long held, quite unchal-
lenged, by Mr. Gable. . . .
Still, George Brent may now enter
that winning cycle with his being
signed to play Ransome in "The Rains
Came" ... a honey of a role, that one
. . . and all the result of his playing the
doctor — and how warmly he played
that doctor — in "Dark Victory'' . . .
typically Hollywood everybody going
around muttering that Brent can act
since he did "Dark Victory" ... he
could act long before that, too. but he
never got a chance to show it in those
spineless characters Warners have
given him up till now . . . for our
money, "The Rains Came" is getting al-
most as interesting to look forward to
as "Gone with the Wind" . . . wouldn't
be surprised if it was to be Mr.
Zanuck's challenge to Mr. Selznick . . .
on account of any picture that has in
it Tyrone Power, Myrna Loy, George
Brent, Marie Ouspenskaya, plus a mag-
nificent love story of passion and re-
generation, the whole laid in India with
floods and earthquakes . . . and directed
by Clarence Brown . . . that just has to
be something. . . .
Nice seeing Don Ameche's stock hit-
ting a new high because in "Midnight"
and in "The Story of Alexander Gra-
ham Bell" they let him get the girl . . .
dopey anyhow not giving Ameche
screen sex appeal since off-screen he
could get any girl he might desire with
that infectious charm of his ... I like
seeing Alan Curtis in there again in
"Sergeant Madden" . . . he's one of the
boys that they go around studios mut-
tering about . . . saying he's a per-
sonality but can he act . . . phooey on
that stuff . . . dominant enough per-
sonalities can always be taught to act
. . . look at Gary Cooper . . . look. too.
at that very handsome Richard Greene
. . . there's a lad who is coming right
along and being very nicely developed
in varied characterizations ranging all
the way from "Kentucky" through be-
ing Shirley Temple's leading man to the
high-born young man in "The Hound
of the Baskervilles" . . . But on the
other hand look what's happening to
others . . . look what they did to Mickey
Rooney in "Huckleberry Finn" and to
Joan Crawford in "Ice Follies" ....
That Rooney kid lavished the most
beautiful performance on "Huckleberry
Finn" . . . but who wants to see this
gorgeous, typical 1939 boy as a corny
hick of half a century ago . . . and as
for Miss Crawford in "Ice Follies" . . .
what is the idea of making her a com-
bined Sonja Henie and Hedy Lamarr?
. . . honestly those ice ballets in "Ice
Follies" simply made you know how
wonderful Sonja was . . . made you
know by contrast . . . the flashing of that
beauty's silver skates against the cold
crispness of ice . . . the very sound of
them is thrilling ... so what happens in
"Ice Follies"? . . . well, skaters, whom
you never get acquainted with, skate
through some form of liquid goo. so
that the effect is just a sort of water
ballet done with mirrors. . . .
As for Joan's being put into a black
wig and a Lamarr make-up . . . well,
that kills us . . . that Lamarr double
act on Joan Bennett's part was a cute
stunt particularly considering that
Joan did look so much like Hedy when
she got herself up that way . . . enough,
as lots of people have pointed out, to
make Gene Markey. Joan's ex. begin
dating this newest glamour girl which
just led straight to the altar . . .
but all this trick did for Joan
Crawford was to hide her own domi-
nant personality . . . and that re-
minds me of what Humphrey Bogart
calls Joan's "The Bride Wore Red" . . .
he calls it "The Bride Wore Out" . . .
here's hoping that Joan's playing Crystal
in "The Women" puts her stock back
where it belongs ... it isn't such a big
part that one, but Joan will play her
(Continued on page 70)
GfMTIlER
for uplift qlamour!
Ellen Drew. co- siarm/
with Grorge Raft in ~The
Ladi '* From Kentucky ",
a Paramount picture
fiiiuim; bra
robs your waist of
wrinkles, .slims inches offvmir
hip-, to give beautiful high ac-
cent to your bust! A real inner
uplift . . a perfected control!
Tip. pUmonzinp fdvH Laflrx knit, $5.95. Left, a
gorgeoui cl&ssic in two-lonr, Lmstr-x strip*-*. $5.95
Gamner Floating Bra suits. $3. 95 and up. . .at
smarter shops everywhere! W rue for style book!
Don't be a
Suz\ -Droop)
\
Flight, ultra • «mirt
»trapir»§ TTrnnoaa
•rat fa
in fro
GANTNER & MATTERN CO., Dept PH
S. F. Md*'. Hart, Chi ±co 1410 Bda
Monorch Knitting Co , Ud., DunovUle. Out. .Canada
JUNE, 1939
II
in a now scarf arrangement of (win federal Foxes
Gleaming twin beauties .'. . proud heads looped high on your shoulders . . . silver loveliness
caught in front... held smartly together in back by two slender paws. Indisputable, new flattery! A shining
example <>f the enormous chic of luxurious FEDERAL Fox. Smart stores everywhere show this stunning fur; you'll
know it bj t lie FEDERAL name stamped on the leather side of each pelt, your guide-post to lasting loveliness.
FEDERAL SILVER FOXES ?/— ^ ,io^^m
12
PH OTOPLAY
CAROLE
LOMBARD GABLE!
BY DIXIE WILLSON
I
That little guy who spills the moonlight
Over every garden trail,
Who plugs our hearts with silver darts,
And weaves of dreams a bridal veil;
That little guy who writes the rules
For Love's sweet and exotic fable,
Can scribble, with a flourish, now,
"Finis: Miss Lombard . . . Mr. Gable."
II
Your Hollywood which manufactures
Reels of Romance by the day,
Which gives us love in plain and fancy
Styles from Nome to Mandalay,
Which serves us thrills in double features,
Now, it seems, has turned the tables;
One slice of Paradise released,
Not for the world . . . but for the Gables!
A grin ... a pair of ears . . . and then
A dinner . . . orchids ... tender sighs . . .
A girl who found new ecstasy
With looking into someone's eyes . . .
A ring ... a promise . . . can she cook!!!
But never mind, if Love be able
To capture all the joy we wish
For Mr. Gable and Mrs. Gable.
^ocf'Zl^
°»ing
a
y»*i
«*>i
—V.
^4
'.4
SIDE OF HOLLYWOO
ELSA MAXWELL
To this famous author and eccentric,
renowned for her unconventional par-
ties, wit and avoirdupois, Hollywood
has become the" city of annuities and
trust funds " But fortunately she
still finds a few rare creatures
whose behavior and cleverness save
the town from the curse of normalcy
T has often been said about Venice that one
should never go there unless one is in love.
It has never been said about Hollywood,
but it ought to be, that one should never go there
unless one feels like crying at jokes and laugh-
ing at troubles.
I stayed away from Hollywood for six long
years. When I was there last, in the spring of
1933, I was sufficiently foolish to worry about
trouble and to try to laugh at what struck me
as comedy. A newcomer, I took it upon myself
to tell the producers that they should use some
English actors and English furniture in pictures
dealing with England. A greenhorn, I imagined
that if there were but twenty-six characters in
a picture dealing with France there should be
not more than twenty-six, preferably twenty-
five, ways of pronouncing "Monsieur" and "Ma-
dame." Looking back at my experiences in the
Hollywood of 1933, I can see how silly I was.
What I failed to realize then was that Holly-
wood was still a growing child and was acting
like that six-year-old boy who tore out all the
rose bushes in the garden of his neighbor and
then, when threatened with being chastized,
cried, "Don't say anything, don't say anything,
I'm just a child, I'm just a child. I don't know
any better."
Well, Hollywood is not a child any more. It
has come of age. It has become almost a bit too
grown-up and too sane to please a visitor who
The author and Katharine Aldridge, both appear-
ing in Elsa Maxwell's "Hotel tor Women," another
Darryl Zanuck brainstorm for 20th Century-Fox
hopes to be entertained. True enough, there is
still Garbo — I suppose Garbo will always be
with us — and to be sure there is still that local
philosopher whose approach to marriage, re-
ported to us by Walter Wanger, the producer,
is as original as anything ever conceived on the
United Artists lot. Said he, while answering
Wanger's question as to why he still remains a
bachelor, "Marry? Not me. Not on your life.
I know what all these Hollywood girls are wait-
ing for — some sucker who will come along and
marry them and then they can dash right off
to their dentists and have their teeth straight-
ened and charge the whole thing to the sappy
bridegroom. . . ."
Hollywood, as I see it today, is suffering from
the sins of omission more than it is from the
sins of commission. So thoroughly pure are the
stars, the directors, the producers and even the
agents now that, aside from an occasional cheat-
ing at solitaire or a bit of foul play on the polo
field, there is not much choice between a Sun-
day school and West Los Angeles. So much so
that very often I feel a bit of nostalgia for the
wild, wild place that Hollywood used to be, for
the days when stars were yet to discover the
annuities and the irrevocable trust funds.
But this is supposed to be an article dealing
with the unconventional side of Hollywood, so
I had better stop talking about annuities and
irrevocable trust funds and concentrate on the
people who still manage to create the impres-
sion in the mind of a neutral observer that there
is still some difference between Wall Street and
Hollywood.
When I came to Hollywood six years ago, I
was a free lance, so free of any contracts that
nobody noticed when I left. This time I am
14
Miss Maxwell calls him Hollywood's most colorful person — Greg-
ory Ratoff goes into verbal action with the Charles Boyers
definitely a starlet. In fact, looking at my test
the other day on the Twentieth Century-Fox
lot, I said to Gregory Ratoff, who is supposed
to direct me in my forthcoming picture, "Greg-
ory, I'm a bigger star right now than Joan
Crawford, Greta Garbo and Norma Shearer
combined."
"How is that?" asked Ratoff.
"Well," I said, "it's very simple. Look at my
avoirdupois. I'm the only actress in Hollywood
whom producers and directors don't beg to lose
here, there and elsewhere. I'm the only one
whom you are all begging — please stay fat and
ugly. The fatter and the uglier you are, the
better we like it. . . ."
Fortunately for me, next to Countess di
Frasso (the woman who taught Gary Cooper
that a watch chain should be worn across the
vest and should not be hanging from the lapel
of one's coat) fortunately for me, I say, next to
Dorothy di Frasso, Gregory Ratoff is about the
most colorful person in Hollywood. Before
meeting him, I used to think that I was pretty
noisy and that I possessed a sufficient amount
of vitality. I have changed my opinion since
meeting him. Watching him in action, I feel as
if I were the most phlegmatic person on earth.
Vesuvius is supposed to be a volcano but Vesu-
vius is just an innocuous spittoon when com-
pared to Ratoff.
MERE is a sample of Ratoff in action. While
directing Alice Faye in a scene in "Rose of
Washington Square," Ratoff shouted in a voice
that could be heard and probably was heard as
far as the Metro-Goldwyn-Mayer lot, "Alice,
you are terrific. You are colossal. You are
magnificent. You are ninety-five per cent good.
I wish I knew how in hell I could get the other
five per cent out of you."
Discussing the selfsame "Rose of Washing-
ton Square" with Al Jolson, Ratoff expressed
his amazement at the wonderful performance of
Tyrone Power and said that before he began
shooting he didn't believe that Tyrone could
play the part assigned to him, the part which is,
of course, based on the life of Nicky Arnstein,
the gambler. "How could Power play the part
of Nicky Arnstein?" Ratoff wanted to know.
Jolson looked at him with pity and said,
"Why you blankety-blank Russian ... A man
who could make love to Marie Antoinette . . .
A man who helped Lloyds of London build the
merchant marine of the British Empire ... A
man who built the Suez Canal almost single-
handed . . . And you (Continued on page 73)
It of
alantly h
'.'iiiic practically to
little nun.
doubt, i'n ac-
>.>ut the i
iy the
I the male
popul.
. .
r an introduction — make it
ilia her Ann. hails
landed in Hol-
through a beauty con-
ra old, has had one ( 1 )
i 1) divorce. She played the
ney in "Angels With Dirty
history In "Dodge City" with
:.d will shortl. Diek Pow-
ell's "Naughty But Nice." All of which, the
i ptic will freely admit, is a very good
In fact, dammit all,
Twenty-four is not exactly a ripe old age.
I all. Twenty-four is one of the most
I can possibly have. If she
us then, she never will be — and the
: chance is she will never be quite
. . So you had better look
when Annie solemnly an-
nounces she "is now living her second life."
A LOT of things have happened to our Annie
during fiv In Hollywood. She arrived
via the beauty contest route, with thirty other
winners recruited by Paramount from all over
the world. So far as anyone knows, Ann is the
only one still in Hollywood. Certainly she is
the only one who made good.
She was as lost and bewildered as any of
them. A woman at Paramount who knew her
then says, "Oh, what a homesick baby that one
ry day she would drop in my office
and exclaim, 'I'm going back. Can't stand it.
Nothii ens here. Hollywood is the dullest
nth. Home is a lot more exciting!' "
(How do you like that, Hollywood?)
Right then, Annie was going through the try-
ing introductory period of dramatic coaching,
and tests. She did not make
friends right away — never took the initiative.
She v. : big family of three sisters
mother and father, scads of school
■ I an active outdoor life. Fearless,
athletic, vitality enough for four girls, radiantly
into a decline while she
:' acclimated and reorganized.
boo] having been Texas State
naturally inquires, "Did
Annie I frankly
a thought. ' its merely
hool and that one
the blu( with
d an active member of
tudying? . . . She could
take tt Any girl who looks
much fun as she has
wouldn't get much chance
•educational institu-
tion.
I Hollywood, Annie alwa . 1 she
ibably marry and settle down on a
'he other yirls
she ki Hol-
I and sct-
you fell in love,
FROM
fov^
TO RICHES
Sex has reared its pretty head
again — Hollywood has found Ann
Sheridan/ redheaded tornado!
BY RUTH RANKIN
married and stayed that way. Fun was fun,
but marriage was something you did in earnest.
She didn't know what the hazards were, then.
ABOUT that time she met a young actor named
Eddie Norris.
Annie and another girl lived in the Canter-
bury Apartments; so, it happened, did Eddie.
One evening someone in the lobby introduced
him, just in passing. The next evening he called
and asked Annie out. It was the first time in
her life she ever made a date after such a
casual acquaintance. They kept on going out
for a year and then married.
Eddie is a splendid young actor ("They Won't
Forget," "Boys Town," etc.) and he was under
contract to M-G-M. For some obscure reason
— it is sometimes difficult to understand the
mysterious workings of this picture business —
there were no parts for Eddie to play during
one entire year. Annie was busy almost every
minute. So, naturally, Eddie sat home and
brooded and got moody and was not a very
cheerful companion when Annie arrived after
her day's work.
And there she was — easygoing, fun-loving, all
keyed up after an exciting day and rarin' to go.
By that time she had found out what you did
with your excess vitality in Hollywood — you
went out and did the night spots.
All the kids go through this interval. The
mature actresses — while they are engaged
in making a picture, anyway — have dinner in
bed and study their script until ten o'clock.
They have found out you can't tear around all
night and work the next day. . . But they had
to find it out, too.
Eddie and Annie couldn't gel anywhere with
their finances until they hired a business man-
and they waited too long to hire him.
Neither of them had much lout money
and there was that difficulty added to all the
It totaled "incompatibility."
No blame is attached to either one, by either
one. Simply, it is an old story in Hollywood —
a tradition, you might say — but the only way
people ever learn it is to go through it.
"If two people can't agree, the best thing to
do is get out of it," is the way Annie analyzes
the situation.
So Ann Sheridan's firr.t life was lived.
OHE is now going through the interval of re-
adjustment, but not exactly the way you might
think. The accepted way is to go a little hay-
wire after a divorce, but Annie has upsi
applecart and is not behaving strictly accord-
ing to standard. She has gone serious.
"Once your original plan is disrupted," she
says, "you have to work it all out again — and
differently. It seems life can change, things
can be different — although once you thought
they never could be. A new set of ideas has
to be worked out. Before it was two people
planning a future — now it is one."
They had planned far enough to have a houce
nearly built. Eddie is now living in it. Ann
has taken a house in North Hollywood and a
school friend, Gweri Woodford, has come up
from Texas to live with her.
"The way things were before," says Annie,
"I took my work as it came. Played through
it. You know — it wasn't terrifically important
because there was always Eddie's career, too.
Now I regard it with more seriousness — it's my
future. If anybody takes me out now and keeps
me up until two A.M. when he knows I have
to get up at six, I resent it. That happened
last night — next time I'll take mad-money! . . .
Before — well, if they wanted to go home earlier
than two A.M., I resented that. Bitterly!"
Underneath Annie's flippant exterior — a de-
fensive flippancy which was one of the first
things she discovered had to be cultivated in
Hollywood to mask any real feelings she might
have — Annie has a well-balanced mind and
draws sensible conclusions. At least, in con-
versation with women she does.
She is so dazzlingly beautiful, with a com-
pelling poster-like beauty reminiscent of the
late Jean Harlow, that one can imagine men
almost resent it if she is too sensible. In ap-
pearance, she seems one of the rare exotic crea-
tions designed to go through life having every-
body else be sensible for her. Annie is good-
natured enough to let them think so, anyway.
That sultry, repressed, impassioned quality of
hers, together with a figure that makes all the
girls want to go home and have a good cry, has
(Continued on page 75)
16
Annie (she's called that two minutes after an intro-
duction) is something the angels dreamed up for the
benefit of downtrodden cameramen — but it took Holly-
wood five years to claim her its "Miss Oomph of 1939"
Why not admit it — we are all lonely,
too often — and the stars are no excep-
tion. But they have found an answer
FAITH BALDWIN
V<eo^at^°NV|>^ *a>l
'* A ^ a °
to*
ARE LONEL\
■ ONELINESS is not a prerogative of genius,
the great or the near great. It is something
^^that every one of us experiences at some
time or another, in varying di The happy
extra rely aware of this condition, but
.ire times when, because of personal grief
or tragic loss, or in a moment of unusual dc-
ui. In- too faces the fact that being born
mortal, being human, he must sometimes be
lonely, alone in his heart and in his spirit. How
many of us have known that sense of isolation,
suddenly and without warning, in the gayest of
crowd D in the treasurable company of
someone whom we dearly love?
There is loneliness in Hollywood, the gayest
of towns, the most glamorous, loneliness, in fact,
to B piercing degree. Work, excitement, fame,
adulation . . . these are not magic amuldts
which guard one against being lonely. Some-
times they may serve as barriers, erected be-
tween the stars and their inner loneliness, but
at almost any time, and without premonition,
the barriers may crumble.
If Hollywood could teach us how to ward off
loneliness even a little, I would say that it has
taught us a blessed lesson.
It is only fair to say that there are, among the
stars, plenty of extroverts who love the rush
and glitter and excitement: who pridefully
prance from- party to party and publicity to
publicity, and live for the most part on the sur-
face. Yet I believe that even these have their
lonely moments . . . perhaps not until they feel
themselves slipping, when their popularity
wanes, and they begin to wonder if they are on
their way out. Then the loneliness takes the
form of missing the merry-go-round and the
people and the attention.
But the introverts know that other kind of
loneliness which has nothing to do with bands
playing and cameras grinding and people ap-
plauding. A loneliness of the spirit.
Such people walk alone always, no matter
how well attended. They are less lonely when
by themselves, a paradoxical statement.
No. Fame and youth, success and loveliness,
beauty and glamour are never insurance against
being lonely.
It has been said, and often, that marriage is
the only insurance against loneliness, yet it
doesn't quite cover all the risks after all! It
may be that many Hollywood marriages are
contracted in order to assure two people that
they will never be lonely again. Yet they will
be. no matter how much their marriage means
to them, or how? much they love one another.
For it is utterly impossible for any human being
to fathom completely the depths of the human
heart — even his own.
Many Hollywood marriages fail . . . many.
Hollywood stars marry again, and again, seek-
ing perhaps for an insurance which, this time,
will prove perfect. And when the ideally happy
18
For Joan Crawford, there was a
"joker" in the game of success.
It's written in her very eyes
ny
shafts
rooi
marriage comes, there is always that fear, as in
any happy marriage, that one will be taken and
another left. One of the most tragic figures in
Hollywood is that of Lionel Barrymore, whose
marriage to Irene Fenwick was his life . . .
now that life has ended and he will go lonely
for the rest of his days.
It seems to me that certain little groups in
Hollywood have found loneliness their portion.
The foreign stars, for instance. They come over
here, usually heralded with a great fanfare of
publicity, and find themselves in a new and be-
wildering world. They are regarded with suspi-
cion, with reservation, often with resentment.
They do not know the language, they find it
very difficult to adjust themselves to new condi-
tions, and they make blunders without knowing
why . . . not many of them survive, after all.
Some arrive fully panoplied as it were, sprung
from the Jove-like imagination of a discovering
(Continued on page 74)
;?
c.
They're your next-door neighbors, these Hardys — Marian, Andy, the Judge, Mrs. Hardy and Aunt Milly
One of the screen's finest and
LEWIS STONE
It's less a great characterization
than a revealing self-portrait,
beloved Lewis Stone's interpreta-
tion of the beloved Judge Hardy
BY GLADYS HALL
OF course you know without being told
that Judge Hardy and Lewis Stone are,
in nil essentials, one and the same per-
son. The qualities of tolerance, kindliness,
forthrightness and salty wisdom which are the
dominant factors in the character of Judge
Hardy are also the dominant factors in the
character of Lewis Stone.
When Lewis Stone steps onto the set of a
Judge Hardy picture, no transmutation of char-
acter takes place. There is no addition of
make-up. The mannerisms, the wise, slightly
quizzical, wholly compassionate smile remain
•ne. And when Judge Hardy steps off the
set in the evening I ■ no mummer's cloak.
In other words, when you meet Lewis Stone
you meet Judgt Hardy and when you meet
Judge Hardy you meet Lewis Stone. It is as
simple BJ th.it.
all this even though Mr. Stone depre-
cates the idea that an actor and the part he
plays are ever one. But this is largely because
Mr. Stone, like the Judge, is incapable of exhibi-
tionism of any sort.
He did admit, though, that the Judge is not
"acting." He said, "I try to keep the acting out
and the warmth in. I know how our friends
would resent it if they thought that we, the
Hardy family, were just playing parts. We are
not just playing parts. We are feeling them,
and warmly. We all lunch together in the studio
when we are working, usually in Mrs. Hardy's
dressing room, where she, very much in char-
acter, cooks for us. I daresay an onlooker would
be hard put to it to determine whether Fay
Holden, Lewis Stone, Cecilia Parker, Mickey
Rooney and the others were really Miss Holden,
Miss Parker, Stone and Rooney or Mrs. Hardy,
Marian, Judge Hardy and Andy. We even,"
laughed Mr. Stone, "have the amusing expe-
rience, occasionally, of discussing our own per-
sonal problems and affairs only to find out that
we have confused the issue and are discussing
the problems and affairs of the Hardys!"
The realness of the Judge in the minds of the
public is again testified to by the voluminous
mail, addressed to Judge Hardy, M-G-M
Studios, Culver City, California. These letters
run into the thousands weekly. Many of them
are from women, complacent letters telling the
Judge that the writers' husbands are ". . . just
like you, dear Judge Hardy . . ." There are
letters from the kids, too, from boys Andy's age
and girls of Marian's age. "And these letters,"
says Lewis Stone gravely, "could form the basis
of a completely comprehensive survey of Amer-
ican parenthood: in what respects it is success-
ful, and why: in what respects it fails, and why."
College professors write to the Judge; fathers
write to him saying, "Tell me how you do it
. . .;" priests write; schoolteachers — and one
and all they tell the Judge that after a Judge
Hardy picture is shown in their neighborhood
the girls and boys behave better, adjust better
and are more tractable for weeks afterwards.
TOR these reasons it is important to emphasize,
for those of you who aren't aware of it, that the
Judge and Lewis Stone are, in all essentials,
one and the same man. It's nice to know, isn't
it, that when the Judge steps off the sound stage
he doesn't become a different, more second-
rate, less sound and substantial citizen, husband
and father. The Judge is real because Lewis
Stone is real, and in the same fine ways. And
even as Judge Hardy stands as friend and arbi-
ter to his unseen friends, so does Lewis Stone
stand in a similar relation to the young people
who come into personal contact with him. Let
me tell you that on the M-G-M lot where Mr.
Stone makes pictures, there is a pathway beaten
to his dressing-room door. It is a pathway worn
by the feet of young people, studio stock players,
bit players, beginners, even stars of both sexes,
who go to the veteran actor for help with their
problems. And this path was worn long before
the first Judge Hardy picture was thought of.
"We have to be very careful with the Judge,"
Mr. Stone told me, a smile in his eyes. "The
Judge has to be a very good boy. It looks as
though I may never play any other character
again. For example, when I played the part of
the drunken judge in 'The Bad Man of Brim-
stone' the repercussions were terrific. The
Judge's fans, who are his friends, didn't like it.
They didn't like it one bit. They very definitely
and emphatically and articulately said that they
didn't like it. When I played the part of the
drunken doctor in 'The Chaser' the same re-
action set in. Even more so, if possible. Hun-
dreds of letters came in, letters of really pas-
sionate protest, crying out 'The Judge has
turned actor on us!' It was," said Mr. Stone,
"the 'jury' pronouncing sentence on the Judge!
"The odd part about the situation Judge Hardy
has created about me is that I left the stage
and went into pictures simply and solely be-
cause I could not endure the hideous monotony
of playing one character for days, weeks, some-
20
fe, Mrs. Lewis Stone
times months. I chose to go into pictures be-
cause in pictures I could play rich man, poor
man, beggarman, thief, doctor, lawyer, merchant,
chief . . . and now it looks as though I will be
Judge Hardy and Judge Hardy alone, till the
end of my screen days. Judge Hardy, of course,
does get around. He doesn't say the same lines,
make the same gestures, give and take the same
cues every night of his life. He goes out West,
he falls heir to a million dollars, he lives a life
of considerable variety. He is as versatile as
any one man could well be. But even so — yes,
I must admit it — I would like to play other
characters occasionally. Whether it will be wise
for me to do so or even possible for me to do
so, remains to be seen. And if I must make
an ultimate choice I will, of course, sacrifice
other characters to the good Judge. And with-
out too many regrets, actually; for if the Hardy
pictures do as much good as the letters we re-
ceive seem to prove they do, then they do good,
don't they? If the sight and sound of the
Hardys on the screen, living out the pattern of
their normal, everyday lives, help to adjust the
maladjusted, then that's as good a reason for
living as any I have found after quite a bit of
living. . . .
"Yes, I believe I can say that I shrug into the
Judge's slightly worn coat easily. The Judge is
a straight-line character. No quirks in it. Pos-
sibly nothing of extraordinary interest in it,
either.. He has no mannerisms, no tricks of per-
sonality, no complexities, no neuroses. Well,
neither have I. The Judge has been a long time
on the bench. So have I. His judgment is tem-
pered; his is 'the quality of mercy.' I dare to
hope that time has given me something of the
same mellowness. I would estimate that the
Judge has been some thirty odd years on the
bench. I have been thirty-eight years on my
bench, the stage and screen. I should suppose
(Continued on page 76)
Mr. Stone, aboard his yacht
a
^
;^B R
THE ENTHRALLING LIFE HISTORY
OF A FIGHTING IRISHMAN
GEORGE BRENT
BY HOWARD SHARPE
'
Brent and Betie Davis in "Dark Victory"
MARCH, in 1904. came into Ireland like
;i lion and departed considerably spent,
having left behind (in John Nolan's
Fed farmhouse near the river Shan-
wling bit of potential dynamite some
time to be known as George Brent. The banshees
stopped wailing over the peat bogs because, in-
they are as to the future, it was un-
od among them that this was a time for
gli i fill celebration.
In an upper room of the house an old man,
on hearing the cries of his newborn grandson,
i Ins lean six feet four body erect, dropped
the history of Ireland he had been reading to
the floor, took his shillalah and wenj striding
out on the moors. Old John Mclnnis had within
him a fury and a hope, a clear vision born of
Qerable years which pictured this <
and the reckoning should
come in tho day of his grandson, and — if John
Mclnnis had anything to do with it — by the help
of that grandson.
Impatiently, while the first years went by. he
ILLUSTRATED BY VINCENTINI
•watched the boy grow, saw the small legs walk
sturdily, saw the fine head take shape and the
eyes, curiously intelligent, brighten with vital-
ity. And on a summer afternoon, when George
was six, old John came stalking around the cor-
ner of a barn to discover the vessel ready for
any intoxicant he meant to distill there. . . .
Another little boy, from a neighboring farm,
stood shakily on the piled boxes and pointed his
rifle, carved in loose imitation from wood, at
George on the ground. "Spang!" said the child,
"you're dead!"
George responded. He lifted his right arm,
pointed his stubby forefinger at his slayer,
tightened his fist, and shouted, "Boom!"
After a moment he added, "You have to fall."
"But I killed you first!"
George grinned. "No you didn't. You just
hit me in the leg. And, anyway, it's me that'll
be givin' the orders now, for awhile."
The other boy descended hastily. "You are
not. I said I was general before and I'm going
to stay that wav."
George said nothing. Here, clearly, w^as a cir-
cumstance demanding action, not words; and he
acted. Shortly afterward he arose, casually
wiping blood from his mouth. "I'm thinking
I'm the general!" he panted.
Old John, at his barn corner, turned and hap-
pily banged his stick against the weather-beaten
side of the building. His eyes held triumph.
Shannonbridge is an old town, so old it looks
as if it had grown with the trees and the rocks
there in the center of Eire where the Shannon,
slow-running, meets the faster river Suck. John
and Mary Nolan had their farm from the Nolans
before them, and these were a substantial line
of Black Irishmen, believing in the hardy des-
tiny of the Celts and in freedom and in the in-
violability of home and family. They had fought
magnificently for the first two of these idealisms
and the third was protected belligerently by the
four-feet thick stone walls of their remote house,
with its encircling meadows.
Little George, his pliable and imaginative
mind bursting with his grandfather's blood-
22
It's proud I am, sir," he said
"I will, too," George told his image
VICTORY
thirsty stories, believed the house had once been
a fort.
He had time to listen to the old man only in
the evenings, when a peat fire blazed in the
enormous fireplace and the Mclnnis patriarch
sat there in his inglenook, stroking his Galways,
puffing at a venerable clay pipe and coloring the
air with his tales of stirring past. During the
day George worked, herding sheep with the
twelve dogs, planting potatoes, standing naked
to the waist and barefooted in the bogs, cutting
and spreading and ricking fuel in anticipation
of the long winter.
This was hard work, toughening his muscles
early, so that when it came time to go to the
National School in Shannonbridge he was ready
for competition in races, in football, in field
hockey with other small gossoons of the town.
But Grandpa, intent with purpose, caught the
boy often enough; and always his stories of
William of Orange and conquest and bright
banners flying pointed a radical moral. It was
shrewd propaganda, wherefore within a few
years George's heart surged with hate against
oppression, against the British; and with a
strange, wild pride of homeland, of race and
that race's spirit. The origin of his future, well-
planted, flourished and grew. . . .
George's father, John Nolan, had died quietly
in his great bed at the house when George was
seven, and the work had been harder and the
years less glorious — because Mary had become,
quite suddenly, a tired and silent woman, list-
less and a little weary of living. John had been
her life and without him it was unimportant.
Then, in 1915, when half the world was at war
and around her the people of her race muttered
with renewed courage of rebellion, she took to
her bed, her tired mouth smiling a welcome to
death.
:
n* nf
r**ds l;k.
fict/o
n—f<
Cr
re*>e//,
ion
V^S,
eor9e fi,
renfs h
er,V,
I
GEORGE woke abruptly in the dim light. His
grandfather bent over him, his whiskers
patches against a face lined and sunken, belying
the eyes which still held life.
"It's time, lad," the old man said.
George slid out of bed. While he struggled
into his trousers he saw that on the other side
of the windows fog drifted like sulphur gas, yel-
low and thick. Liverpool was silent.
Without words old John opened the door and,
with George following, walked out on the land-
ing. George's sister, three years older than he
and pretty, except for hi red from weep-
ing, stood waiting in a circle of bags and
portmanteaus. "We've an hour," said the old
man.
They drove to the dock through the gloom,
still silent George was eleven, close to tragedy,
and his heritage was one of moods — of high ex-
altation or of exquisite melancholy. This morn-
tbis last morning in England, the melan-
choly had set'.led close around him. Intuition
told him that he would never see his grandfather
again.
The SS Philadelphia, eerie with camouflage
(two of her sister ships had been torpedoed
within the week) loomed like a monster
through the mist. George followed old John
and his sister up the gangplank and out onto
the aft deck.
" "Twill be an uncomfortable crossing, lad.*'
the Mclnnis told him. "The Atlantic is rough
23
In this season, and rougher yet with
•hing hap-
pen^
"I will that, sir," George said.
-you'll not be forgetting the
I about? The cause of
our
• 1 him, lower lip out.
"I'll lx v, Grand:
The . hen, contentedly. 'The
be said, and I.
1 away, his heels mak-
■ >n the deck.
It fa M.iry's death, to
send her children to an aunt who lived in New
I this lady promptly- clapped (i
and hi.s sister Into It si ented the most
wiving the sudden double prob-
lem which had been visited upon her.
The little girl wai i nough, gentle and
her mother's death. But in the
temper; and hi
so silent, to chary of word or smile. The Dwighl
:. she discovered upon in-
quiry, was a good one, and accessible. She en-
rolled him there and went home, feeling her
duty well done.
As she walked in the door of her house the
phone rang. It was the schoolmaster, and a
!:nnster in a bitter frame of mind. Her
nephew, it seemed, within half an hour of his
enrollment had fought with another pupil, and
furthermore, had knocked two of the pupil's
teeth down his throat, and furthermore, had de-
fied the master who had attempted to punish
him (George) for such infraction of institu-
tional rules: and furthermore and furthermore
and furthermore. . . .
George's aunt interrupted. "He is your prob-
lem, now," she said and hung up. For a mo-
ment she regarded the telephone, thoughtfully.
Then she began to laugh, and she laughed until
her face was the color of an Irish beet.
oULKING moodily in his room at the school,
George considered the day. It had been a good
fight. He got up and, leaning his elbows on the
top of a chest of drawers, inspected his face
minutely in the mirror. He saw there the for-
mation, soft and unfinished but basic, of a strong
face: the wide forehead, with dark hair crisp
and alive above it: the straight nose; the wide-
apart eyes, one purposeful, the other swollen
and black: the clear-limned pugnacious chin.
A clean-cut face. The face of a thinker; a
thinker, what was more, who would fight for
what he thought.
Quite suddenly he remembered the moment
on deck at Liverpool, when he had promised
the old man he would come to Ireland again.
"I will, too," George told the image in the
mirror. And he knew he would, most surely.
Somehow, his heart felt lighter after that.
The years, then, until he kept that promise
were in preparation for climax. There were six
of them, spent in schools and working at hard
physical work such as he had learned to do at
home, and those years are a story of adjustment
to the American way, of development, of growth
to manhood. Things happened to him, as they
always happen to George, since he is the
>ut they were small landings on
the flight to a greater thing.
At fourteen he was five feet ten inches tall,
an extraordinary height for a boy of that age.
ve him an advantage, in several ways.
The fust was whin, shortly after his return
.'in], be Eel! somewhat in love with a girl
lerably older than he was. She was a red-
d little colleen from the Isle, green-eyed
and lovely and named Margaret.
I. after a few months, Margaret found
•. alks with this taciturn, if handsome.
beginning to tell on her gay spirit — when
simultaneously .-mother of his contemporaries
ofTered her what George did not, and a chance
to ride in a red roadster as well, she proved
fickle. George spent no sleepless nights in vain
unhappiness as a result. It was, he felt, as
well One black mood, lasting for an afternoon
and productive of one smashed water glass and
a torn-to-shreds volume of Byron's Love
Poems, sufficed him.
It was June, in any- ease, and he had plans
winch would not have left room for Margaret.
Introspective and alone as he was, George had
.1 friend, a boy named Jimmy Owens, who went
to the same school. Jimmy, on occasion, could
borrow his father's car — and one hot Saturday,
George heard the ah-ooo-gah horn of the car
sound out in front.
He grabbed his bathing suit and ran.
An hour and a half later Jimmy pulled the
emergency in a remote, brush-wooded section
of Long Island; they could hear surf pounding
within walking distance. They swam for a
while. Then, lying full-length in the hot sun,
they began the lazy talk that is the fashion of
boys, about the future in terms of their per-
sonal destinies, about girls, about recent dis-
coveries (in that French book Hancock kept
bound in a cover labeled innocently "Hero
Tales of American Life"), about their own
prowess at games, about what they would do
this summer.
And George said, "I know what I'm going to
do. I'm going to clear out. I'm going to get a
job and maybe I'll never come back."
He began to picture the summer as it would
be, drawing heavily on his imagination for
Jimmy's benefit, talking with studied casualness
but with a definite purpose behind his words.
Because he wanted Jimmy to come along with
him.
"I'd see things," George finished. "I'd find
From his family in the little coun-
try town of Indiana, Pennsylvania,
from his friends on the sophisticated
college campus of Princeton and
from the men and women who
shared the struggles of his first
years on Broadway and in Holly-
wood, PHOTOPLAY has gathered
a remarkable and exclusive life
story of the one movie actor who has
made a success of simplicity.
A nostalgic saga of Main Street,
as American as chewing gum and
marbles and Sunday-school picnics,
is the opening chapter of this search-
ing portrait of James Stewart which,
with a bow to Booth Tarkington who
might have created him, could be
called "Penrod from Princeton."
Watch for it in PHOTOPLAY.
out what it's like in other states. And if I
wanted to come back I'd have money from
working — I could buy my own car, if I wanted
to."
He waited, his face impassive but his heart
beating hard, for Jimmy's reaction. He need
not have worried. Jimmy's eyes were shining,
his snub nose wrinkled with excitement.
"George," he said eagerly. "Now listen.
D'you s'pose — could I come with you?"
The smallest of smiles caught George's mouth
at the corners. After a moment he answered,
' Will— I don't know. If you thought you could
take it—"
They started in the dead of night a week
later, leaving behind notes propped on dressers,
carrying with them some prepared bags of pro-
visions and boyhood conceptions of what con-
stituted an adequate change of clothes.
For days the two boys tramped through New
York and Connecticut, down the winding state
roads between the streams and woods and past
the farms: sleeping comfortably out of doors
in the convenient summer heat, working off
and on for meals. They had had fifty cents be-
i them at the outset, and they still had it.
Then one afternoon they rounded a bend in
the road and saw grouped by the edge of a river
the buildings of a lumber camp. Without paus-
ing for discussion the two boys straightened
their shoulders and made briskly for the largest
building. Fifteen minutes later they emerged
from the foreman's office, grinning; they had
jobs — and, to justify all of George's predictions,
they were to get a man's wages: five dollars a
day.
I HE summer passed too quickly, but it had
its destined effect on the boy. George's child-
hood was gone. His new possession, his for
life now and a thing on which he might build
his future, was independence; the knowledge
that he could sustain himself by himself, ask-
ing odds of no one.
It was the first really great triumph.
He was ready, then, even before his eight-
eenth birthday. His intervening summers, he
had spent respectively helping to wreck a camp
left over from the World War and picking fruit
for a family of Italians upstate. During the
last winter he had found the particular stim-
ulant his turbulent spirit needed — a group of
people who, like himself, remained closely akin
to the homeland across the Atlantic and fol-
lowed the build-up there to emphatic change
with restless interest.
They had formed an organization called the
Pearson Club and when George joined it the
lecturer was Frank Harris, a rabid radical. And
whether or not it was for the best, George,
whose vitality overflowed the narrow scope of
his existence, absorbed Harris' philosophy like
blotting paper. Besides, he made a close friend
of a man who personalized the message.
This was a young priest, whom we may call
Father Dan, a brilliant Irishman with the cause
of Eire as the main purpose of his life. George
sat next to him one night at the club, and they
had walked together through the New York
streets afterwards, talking of Ireland's plight.
The walks became a habit and Father Dan,
trained in the arts of persuasion, did his work so
well that by spring of that year George, beneath
his calm exterior, was almost hysterical.
The inevitable result came in June, when one
evening the shrewd cleric knocked his pipe
empty against his heel and said — in carefully
casual tones — "I'm going back to Ireland soon,
my boy. I wish you could go with me. But of
course that's impossible. ..."
The young man beside him had no recollec-
tive flash. He did not remember the certain
afternoon on a Long Island beach spent with a
boy named Jimmy. There was nothing remi-
niscent about his own words, now: "Why is it
impossible? I've saved money enough for pass-
age, from last summer. And I've a cousin in
London who would put me up — as long as it
would be necessary."
Nor did he note any special quality in the
small smile which caught at the corners of Fa-
ther Dan's mouth.
They sailed together in October, on the Car-
mania. Cousin Arthur was hospitable while the
priest went on to Dublin to accept a chair at
the University there. And finally, after sev-
eral impatient months, the letter came — the un-
expected letter — suggesting that George come
on to the University and take some courses
there.
" — service and assistance to the cause which
we both cherish so deeply. ..." was left on
one of the pieces of torn note paper the boy
threw into the fireplace that night. The next
day he went to Dublin.
(Continued on page 11)
24
THROUGH
^^fsURGERY
BY GRETTA PALMER
LLUSTRATED BY
IOHN FLOHERTY, JR.
Is Hollywood facing a new fad? —
Not stars but young hopefuls are
learning about the strange new
ways of artificial beautification
— Here are the clinical facts
Editors' Note: Beauty is Hollywood's greatest com-
modity and, therefore, new developments in the sci-
ence of beautification are of interest to all those
who are interested in motion pictures. It is true
that the surgical methods described in this article
have not been used appreciably by well-known per-
sonalities in the picture industry, because so much
emphasis must be placed upon natural beauty,
heightened by natural methods of beautification.
Next month Photoplay gives you an opportunity
to learn these ways to natural beauty which Holly-
wood does employ — the ways of the high-powered,
highly paid beauty, style and charm experts: the
Miracle Men* at Work on movie stars and movie
aspirants.
THANKS to Hollywood standards, the de-
mand for beauty perfection is tremendous.
Mostly, this perfection is sought through
health routines and cosmetic devices within the
safe and comforting reach of every purse.
But now another kind of beauty is being
bought, today, by any woman who has the price.
It may be artificial beauty, with less character
and charm than the moderate good looks with
which nature has endowed a girl. But it is
being bought, piecemeal and, as a whole, by
well-to-do women.
A famous publisher's wife admits, openly,
that her handsome nose is new and synthetic.
A dozen society women in New York and Paris
tell intimates that they have had their breasts
lifted by surgery. Such famous international
characters as the Duke and Duchess of Wind-
sor have had "face shelling" operations, which,
over a period of ten days, peel the top layers off
the skin.
When sub-glamour girls in New York first had
the facial surgeon enlarge their eyes, young wom-
en with hopes of storming the West Coast studios
were not long behind. The vogue for this brand
of loveliness is reported to have tempted some
established actresses to tamper with their native
beauty, but obviously it would be foolhardy for
the great stars of today to change the appear-
ance which has made their fortunes.
Sensational stories of artificiality as the basis
of moving-picture careers should not, therefore,
be credited, but many little unknowns are sav-
ing their pennies to buy synthetic loveliness, by
surgery in the hope of landing on the screen.
It is they who could turn surgery for beauty
into a Hollywood fad.
In the little town of Hollywood (studio
population 100,000) there are eleven surgeons
who make known their willingness to change
the shape of your face. There are many in New
York.
Drastic transformations in one's appearance
can, surely, be made by these surgeons in a few
hours, or less. In disclosing the details of
modern cosmetic medicine. Photoplay aims
neither to endorse nor to condemn, but only to
present the facts. . . .
FlRST of all, since the doctors who undertake
to remake a woman's face are doctors, we might
consider how the medical world regards their
work. Immediately, we discover that most of
the Academies of Medicine and Medical Socie-
ties of the country look askance at any surgical
operation performed on a normal, healthy body.
For there is always in any operation, a slight
danger of infection and unforeseen complica-
tions; beauty doctors are not. therefore, invited
(Continued on page 85)
25
Spectacular crane shot — note painted
tapestries, props in foreground, elec-
trical equipment on cat walk above set
HE LIFE HISTORY OF A MOVIE
Here is your pass into the magic land of movie-
making where you can witness Step Two in the
growth of a superfilm in all its exciting detail
BY NANCY NAUMBURG
WHEN you see a movie and you've read that two years
went into its making, you may think that the studio
has been boondoggling. But when you go there and
see for yourself how such a movie is made, you'll change your
mind.
Last month we took you to the Warner Brothers studio to
watch the preparation of "Juarez." with Bette Davis. Paul Muni
and Brian Aherne. You talked to the producer and the writers,
who told you they spent a year and a half gathering facts of the
tragic love story of Carlotta and Maximilian, the Hapsburg
prince who was duped by Louis Napoleon of France into becom-
ing Emperor of Mexico. How his lovely Empress Carlotta sought
vainly to get aid for him and finally went insane. And how
Juarez, the great Indian statesman, the Lincoln of the Mexican
people, fought to give them a democratic form of government.
The head of the research department told you how they made
the story authentic: the casting director, how they tested hun-
dreds of actors for the fifty-four speaking parts; the art director,
how they executed the throne rooms of Europe; and the costume
designer, the elaborate period dresses.
Come out to the studio again and watch the shooting of
"Juarez." You can ask questions. You can talk to all the people
who are making it.
WlTH everything in readiness, the script finished, the actors cast,
the costumes made and the sets built, the actual production be-
gins. William Dieterle, the director, is the one man from now
on by whose guidance '"Juarez" will either stand or fall. He
must co-ordinate all the forces of the production. He must
create a world he has visualized.
Dieterle prefers actors on the "hammy" side. He knows how
much they can give. Then he tones them down. He is a meticu-
lous worker. He confers with the writers, he casts the smallest
part himself, he directs all the dialogue tests which his assistant
would normally do. When he comes on the set in the morning,
he knows exactly what he wants. Tireless, he rarely sits down.
There's a tension on his set, even between scenes. Only the ac-
tors relax.
A staunch believer in astrology, he shot the first scene of
"Juarez" three weeks ahead of schedule, two hours before the
usual call. He waited for a phone call from his astrologer to tell
him the exact moment to begin.
"Shooting 'Juarez' is like shooting two separate stories with
two completely different casts," Jack Sullivan, ace assistant di-
rector, tells you. "We planned our schedule so that we could
shoot the Maximilian- Carlotta (Brian Aherne-Bette Davis)
story first and the Juarez (Paul Muni) story7 after that was fin-
ished. We were able to do this because the three principal char-
acters never meet.
"We make a shooting schedule for each week and every day
at two o'clock all the department heads get together and read
off their schedules for the other pictures in production so we can
t>lot the stage space. If we don't have that meeting, we'd find
two companies on the same stage.
"With a two months' shooting schedule because of the size of
the production, I called the actors for Monday morning, gave
them their scene numbers and told them to be made up and ready
on the set at nine o'clock."
LOME to the make-up department and talk to head make-up
artist, Perc Westmore. Let's ask him how he makes up the stars
of "Juarez."
"A Paul Muni picture is always interesting to me," he tells us.
"When you make up an actor you create an illusion. But if you
don't have an actor who can complete the illusion, all the make-
up in the world won't help. Paul Muni is a thorough artist. He
knows everything about his character and he knows more about
make-up than any other character on the screen. It's never too
much for him to come in here every evening or whenever we
want him.
Heart-rending scene — Befte Davis and Walter Kingsford
Eerie make-up test — Brian Aherne, as Maximilian's corpse
"We started with Muni by taking photographs of him. then
painting the likeness of the Indian Juarez over them. We took
plaster casts of his face. Then we knew what we had to do:
accentuate his bone structure, make his jaws appear wider,
square his forehead and give him an Indian nose. He had to be
darker than anyone else in the picture. We created the illusion
of the Indian by giving Muni a dark reddish-brown make-up,
high lighted with yellow. We wrote down even,- step in the
process so we could repeat it.
"It took months of experimenting. Make-up tests usually go
in cycles of threes, with the third test the best. But when it
(Continued on page 82)
27
"I Take This Woman,"
starring Tracy and
Hedy (right), was
shelved. Why? And,
again, why do those
who admire her most
disagree about her
chances for continued
screen success?
LAMARR
Women envy her, men dream about
her— but, today, glamorous Hedy is
Hollywood's biggest question mark
BY ADELE WHITELY FLETCHER
IN 1938 Hedy Lamarr was the screen's sensa-
tion.
In 1939 she is Hollywood's dilemma.
On March fourth, when Hedy was married to
Gene Markey in the Governor's Palace at Mexi-
cali, Lower California, by a Mexican magistrate,
she told reporters:
"We decided to get married, Mr. Markey and
I, while we were having dinner last night. Mr.
Markey has to start work on a picture at the
studio where he is a producer. I go into a pic-
ture Monday. We thought we had better get
married right away, for if we waited it might
be weeks before we again had time."
Immediately, I was reminded of a certain
Hollywood star who cannot determine whether
to be appalled at Hedy, or amazed at her. This
star, who built and who now sustains her career
with brilliant surety, asks:
"How on earth does Miss Lamarr hope to
manage a new marriage and a new career at the
same time? Either one consumes all the time,
energy and thought any woman has to give!"
Right now, unquestionably, Hedy's career
needs all her attention. Hedy, at the moment,
is something of a pain to Leo, the M-G-M lion,
who truly can sing, "She's mine, all mine!" For
it was ' Metro who put Hedy under contract,
brought her to this country and spent two years
and a fortune grooming her for the American
screen.
"Algiers" turned Hedy's name into a house-
hold word. It set men and women alike to
dreaming about her, but for different reasons.
It made her one of the most valuable human
properties in Hollywood. Nevertheless, the
studio executives at Culver City may well wish
they'd never seen her midnight -colored hair
and never heard the soft syllables of her name.
WlIAT a break 'Algiers' was for Hedy," those
stars who c:m look backward with more pleas-
ure than they can look forward were sighing not
long ago. But having just returned from Holly-
wood where the Lamarr name, like a litany, is
on everyone's lips, I wonder. I wonder if
there's anyone in that movie town, where com-
petition and pressure always exist in extreme
measure, who is more to be pitied than Hedy —
professionally speaking, of course. I wonder if
"Algiers" really was a break for her, or the
worst thing that could have happened.
Why?
"Algiers" put Hedy on a spot. And a spot is
notably a bad place from which to work. This,
in a measure, may explain why "I Take This
Woman," the picture Hedy made following her
skyrocketing fame, fell so far below expecta-
tions that you and I may never see it.
Metro did what they could to salvage that pic-
(Continued on page 88)
/
*
\
/
\
\ \
\
Proudly he carries on a name that
yesterday spelled genius to Broad-
way; today, phenomenal success
to Hollywood. Illustrious son of an
illustrious father — Tyrone Power,
in "Rose of Washington Square"
■
n
m im
/
/ /
/
/ t
ON THIS AND THE FOLLOWING
PAGES PHOTOPLAY B R I N
HOLLYWOOD AT ITS P I C T 0 R I A| fE S T
HOLLYWOOD
CANDID LIGHT
PHOTOGRAPHY BY HYMAN FINK
AT CAFE MARCEL
Actor Spencer Tracy, Hollywood's man of the hour
Not what you'd call exactly
photogenic but a darn nice
guyl Number one bachelor
of filmtown, Jimmy Stewart
V
Cfc
*«»t,
yf/,e
**Ae/
"> the
Per.
sor,
Clear-cut cases of a cameraman's
skill: photographer Hyman Fink
takes his new camera in hand to
produce some remarkable close-
ups of faces, famous and familiar
THE homes of Hollywood are known as
"show places." Even when a star tells you,
with a breezy wave of the hand, that "it's
just a little place," you prepare yourself for
marble halls. That's because Hollywood homes
usually are designed with the same degree of
attention to flattering detail as a studio set.
Stars' homes are backgrounds for their glamor-
ous personalities; they must, so most of Holly-
wood believes, live up to what you and I expect
of our favorite heroine's or hero's background —
something extravagantly exotic.
Yet, in spih- of this, there are homes in Hol-
lywood which are designed for everyday living,
the houses which fix themselves in your mem-
ory as places where folks might settle down and
relax, even as you and I.
Such a house is that pictured on this page,
the home of Andy Devine, gravel-voiced come-
dian whose lumbering antics have endeared him
i<> millions of movie-goers. It is at Van Nuys
in the San Fernando Valley, near Hollywood,
surrounded by miles of open country reminis-
cent of Andy's native Arizona. A show place?
Yes, of a different sort, a show place of comfort
and convenience, of informality and possibilities
for gaiety, a gathering place for a family, an
(Continued on page 71)
2 The gay card room (upper right),
with its convertible divan, serves
also as the Devines" guest room
3 The living room (right) presents
an informal air with its pine-
paneled walls and stone fireplace
4 A unique and cozy kitchen nook
(extreme right) which the Devines
dubbed "the Brown Derby corner"
5 A nursery (lower right) was added
recently on the second floor for
the new arrival at the Devines'
6 A modern feature of the master
bedroom (extreme lower right) is
the clever use of shelf space
ARCHITECT L. G. SCHERER
|IHVCf| I
The first-floor plan
Ando Ranch reveals th
here is the perfect d
sign for living for t
average family of fo
32
- •-. Dl * 1
■ tift-esv
s
— L
R.5T F-CD«^ Pi-^Kj"
•
/ *
V
»"
• ■ I
♦ . •
«
s
^Oi. e / 'to
&>
o„ "' x- '©«»_/. 'J?
*s?
"*<SS^> eft "^ 3§
••'7 <<;:<:-
CoftKra
V
A
w
► f
I
35
Ray Jcnus
Lady of leisure at work on a script: Rosalind Russell
One Sunday afternoon: Fredric March and Henry Fonda try badminton
HERE'S SWOPE ^,
/
JOHN SWOPE'S CAMERA EYES THE INFINITE VARIETY OF HOLLYWOOD AND ONCE MORE PHOTOPLAY PROUDLY PRESENTS THE RESULTS
« —
^ *» *.^
• - •
7 *
Time and tide wait for llona
seyasshe strikes a streamlined
on the sunny shore of the P
"Extra" curricula on the sound stage — aptly tagged by
Mr. Swope, "Two of the girls broadening their minds."
Top: picture of a director directing — Wesley Ruggles.
Left: "Sincerely yours, James Stewart" — titled by the
photographer, "Conclusive evidence of success — demand
for an autograph." (These studies are from Mr. Swope's
"Camera Over Hollywood," Random House publication)
V\ i
37
L The hit of "Top Speed" and
"Girl Crazy" was spotted by
talent scouts, and movie-goers
first saw Ginger in 1930
I. A slenderizing campaign
brought Ginger down to the
proportions best suited to the
camera — she's never lost them
The metamorphosis of Ginger Rogers who started
out in life as a Charleston contest winner and
lived to prove that "Variety is the spice of life"
4. A success on Broadway, a number of
pictures to her credit at Paramount's
Long Island studios, this is how Ginger
looked when Hollywood beckoned her
5. There has always been a redhead in
pictures, but the Ginger of "Suicide
Fleet" little dreamed that she would
become one of movieland's most famous
6. The process of growing up — experiment-
ing with new make-up, taking on a more
sophisticated manner — thatwas the Gin-
ger of 1 934, when she married Lew Ayres
7. A new partnership— one that was to
last longer than her marriage — was born
when Ginger and FredAstaire burst upon
thepublicin RKO's "Flying Downto Rio"
8. Other studios fought for the privilege
of flying the Rogers' banner over their
pictures. College students all over the
country voted her their "favorite"
A series of dancing pictures — "Gay Di-
vorcee," "Roberta," "Top Hat," "Fol-
low the Fleet." "Swing Time," "Shall We
Dance," put Ginger and Astaire among
the tenbestatthe box office.but finally —
10. Ginger rebelled. She demanded a dra-
matic role for every dancing picture she
made — "Stage Door" proved she was
right. And there lies the secret of why
you hear, "I never get tired of Ginger"
O
LADY
An encore to Photoplay's popular "picture story" quiz —
an old-fashioned, rip-snortin' melodrammer about the
Cowboy and the Lady. The game is easy to play — just
fill in the missing links of the story with film titles.
Whenever a break (indicated by dotted lines) in our story
has occurred, we have inserted a scene from a motion
picture. Fill in the title of each picture, following the
numerals for sequence and, when you are through, you
will have a complete story. We'll start you off: It was
a dark and stormy night — coyotes were a'yippin' and
weasels a'poppin'. "Three Comrades" — Now you go on
from there. The hair-raising tale is complete on page 84
It was a dark and stormy n
—coyotes were a'yippin' and
weasels a'poppin'
were a'settin around a
camplire, a'talkin' about
gold. They were
40
For your convenience in guessing
picture titles, use the spaces below:
had turned to biass. He
I was stuck with a . . . .
who turned out to be
plumb crazy and tit only
for to be an
t. ^
1
s
m
<£
\ i : w s
fr-NEP
»an/
1 1
Fair
on<
iJ Ll" >a*S {root- 17 s0m-
'em
lay <oVe" o( b'ie' 'I'., bl»oJe'
rer5
J ^os>
0 ^bri'ef ?<* *°' Y°'
-this
ne
tte
or
rev»'
beoui
redHea<
r batW"fl 1 -;ad# yoo
siro
pW
ca
»t re$'5
Rita Hayworth (left) of Columbia's "Only Angels Have
Wings," shows a Victorian trend with her Kleinert ensemble.
Her white crinkled rubber suit with its rubber lace edging
boasts a floral trim of varicolored rubber poppies. The drape
of her cap is also caught with a poppy cluster. Wedged-heeled
bathing shoes complete her quaint costume. From Knobby
Knit, Beverly Hills, Calif., and Lord and Taylor, New York.
Jo Ann Sayers (lower, left), seen in M-G-M's "Within the Law,"
selects for beach wear a white satin lastex one-piece, front-
skirt suit, with leaves printed in blue, yellow and green. Suit,
designed by Mabs of Hollywood, from I. Magnin, Los Angeles.
Frills on bathing suits are the last word in 1939 swim styles!
Virginia Grey (lower, right), now in M-G-M's "The Hardys Ride
High," plays on the beach in Shepherd Knitwear's two-piece
model of navy blue taffeta printed with pink polka dots and
ruffle-edged with white pique. From Coulter's, Los Angeles
/,
UNE
Streamlined Jean Parker (right), of Hal Roach's "Zenobia,"
wears "Strapless Wonder," B.V.D.'s daring black satin lastex
swim suit. Sans skirt, the high waistline is attached to a softly
draped zipper-closed bra. Jean's attractive new Toby Clark
beach chair is covered with bright orange canvas. The May
Co., Los Angeles and Gimbel Bros., New York, feature the suit.
Dorothy Arnold (lower, right), recently seen in Universale "The
Family Next Door," wears "Mexicala" — a colorful name for
a colorful suit! The simulated two-piece model of cotton
matletex (West Coast Manchester) is gayly printed with white
stripes and polka dots of white and blue on a background of
red. The trunks are of solid matletex shirring; the plain bra
fashioned on a matletex band. Desmond's, Los Angeles
w •«
Shirley Ross (left), of Paramount's "Some Like It
Hot," models Bradley's strapless suit of silky Forma-
lur fabric (knitted of rayon and superelastic Darleen
yarns). Even high divers can wear it, for its fitted
bodice is boned, back and front, and has an adjust-
able drawstring. The skirt's flare is taken from win-
ter's skating garb. Cramer, Palmer House, Chicago
OVER i
43
MORE NEWS FROM
Starlet Jane Wyman (above), whose newest
Warner film is "The Kid from Kokomo," suns
herself in a novel Catalina swim suit called
"Puckerette." It is fashioned of tangerine
matelasse oilskin and stylized by gath-
ered side panels and a finely shirred front-
waist inset. Suit from Bullock's, Los Angeles
Arleen Whelan (center), appearing in 20th
Century-Fox's "Boy Friend," models the
"Halfskirt Zip-In," Jantzen's Velva-Lure ac-
tion suit. This delightful rayon fabric has
a velvety sheen that gives a glamorous ap-
pearance. A Talon fastener is a unique
style feature which makes it easier to slip
into the suit. J. W. Robinson, Los Angeles
Anne Shirley (lower, left), of RKO's "Soror-
ity House," wears Gantner's two-piece swim
suit of polka dot shirred satin lastex. The
halter bra ties on to the shorts in front
with a casual bow. The suit features Gant-
ner's famous "floating bra." Palais Royal,
Washington, D. C, features the suit
v
""er.^.r""*^
w'th
e n
fat,\
'-
o Ay
^pp/„
^o^;^^^^^:-^
'/e«., :e^o^_'?Pp'"eJs..
"^i*^***^.^
Soft
*Hfc
Sc*rf f. . tf>e L
*****
7'ce
y cMfr,
Superstition does not haunt the steps
of Rosalind Russell, M-G-M star. Thir-
teen giant hooks and eyes close the
chartreuse jacket of this dressmaker
suit, created for her personal ward-
robe by Irene of Bullock's-Wilshire,
Los Angeles. The red, chartreuse, blue
and black printed Ducharne crepe scarf
is novel variation for the so-popular
wimple — it is the hood collar of
the short-sleeved blouse that tucks
into the straight black skirt
which, like the jacket, is of London
Shetland. Rosalind's rough straw rolled-
brim hat with forward-tilted crown
was created by John-Frederics
London Shetland Fabric from
John B. Ellison
All-important accessories (left) give verve to Clau-
dette Colbert's dressmaker suit of black Rodier
cashmere that features a straight skirt and a softly
tailored jacket. Tiny white crystal beads, looped
across the front of the white crepe blouse, give
a shimmering high light to the black suit. A
kerchief edged with fine lace, a rhinestone and
enamel breastpin in lily motif, white antelope
gloves, a white faille turban with black veiling, a
summer muff of silver fox and a ruby and dia-
mond bracelet give distinction to this classic
suit Claudette wears in Paramount's "Midnight"
Pholography-RUha
Colorful high lights on dead black
make Claudette's dinner dress of
Ducharne crepe Roma (above) a
fashion triumph. Also designed by
Irene, it is styled with slender, cling-
ing lines and short sleeves — the bo-
dice, open to ttie high waistline in
front, has applique of gold and v.er-
million poppies at shoulders and
waistline. M-G-M has borrowed
Claudette from Paramount to star
in "It's a Wonderful World"
47
Color and contrast fabrics individ-
ualize this dressmaker suit from the
personal wardrobe of Bette Davis,
star of Warner Brothers' "Dark
Victory." Moss green, black and
white plaid the sheer woolen fab-
ric that fashions the circular skirt
and outlines the black sheer woolen
bolero; the blouse repeats the moss-
green coloring in its jersey fabric.
A wide black suede belt girdles
the waistline. White gloves, an
over-the-shoulder bag of black
patent, and a wee chapeau of
straw with black chiffon streamers
complete Bette's costume which
was selected from I. Magnin, L. A.
Notice Bette's new "baby" coiffure
"',
In a polka-dot season, Bette cliooses a
navy culotte-skirted gown, boldly spot-
ted with white coin dots. A red leather
belt joins the tailored crepe blouse (with
hood attached) to the crepe culotte skirt.
Bette also selected this casual gown from
I. Magnin, Los Angeles. The collection
of gold and black "Juarez" costume
jewelry (above), set with simulated pearls
and garnets, was inspired by the beauti-
ful jewels worn by Bette in "Juarez,"
which is her newest starring film for
Warners. This and other patterns of
"Juarez" costume jewelry, designed by
Ricarde of Hollywood, may be found in
the smart shops everywhere — the pieces
of this pattern, "Maximilian," courtesy
of The Broadway-Hollywood, Hollywood
Photography — Wclbourne
• • •
• t •
• • t • <
# # n% T f # # # •
Jf • • • i • '
• tf #• •• • • ,',
• • •
bi •
:::j;..
Photography —
Carpenter
Pack up your old kit bag and leave your troubles
behind. It's summertime — playtime. Pack "this"
and "that" — but not too much. Lana Turner, ap-
pearing opposite Lew Ayres in M-G-M's "Call-
ing Dr. Kildare," poses on these two pages in a
colorful week-end wardrobe that may help you
with your planning. For spectator's sports — a
two-piece contrast frock (above, left). The jacket
blouse is of white Celanese rayon Celbrook
sharkskin — the pleated skirt, belt and ascot
of maroon and white printed pure dye silk. A
wide maroon grosgrain band circles the peaked
crown of the large natural straw hat. For dress-
up — a two-piece frock (below, left), of grey Paga
cloth accented by maroon buttons and gloves,
and a natural straw hat and bag set — the bag
is worked with raffia in gay hues. For play — a little
suit of Celanese rayon crepe (below, right), zebra-
striped in brilliant greens, blues and white. The
separate gathered skirt ties on over the blouse and
shorts. All three of the costumes on this page
were designed by Kornhandler, Los Angeles, and
were selected from Roos Brothers, Hollywood
For casual mood — a peasant slack suit of white
and salmon pink (top). The full-sleeved blouse is
of white crepe, the flowing slacks of salmon pink
Celanese rayon Celbrook sharkskin. A gar-
land of salmon pink flowers hides the diminu-
tive crown of the "inverted saucer" natural straw
hat. For the beach — a robe of heavy Celanese
rayon crepe (right), zebra-striped on a white
background. The pleated skirt attaches to a
fitted bodice that closes with two self-covered
buttons. For swimming — a one-piece silk lastex
swim suit in basket-weave design (above, center),
with white and blue posies sprinkled on a
blue background. The brassiere top is held by
a halter strap. Created by Mabs of Holly-
wood. The slack suit and beach robe were
designed by Kornhandler, Los Angeles
^m%-
(frr
PHOTOGRAPHY BY IAZARNICK
PHOTOPt AY
FASHION
THIS TAG IDENTIFIES
AN ORIGINAL PHOTOPLAY
HOLLYWOOD FASHION
LOOK FOR IT
^0
^\VV
\\&
\*
\*
.%%*"
"Peasant Thoughts" is our name for Vicki Lester's attractive
cotton and Dupont rayon shirtwaist dress (left]. Delight-
fully informal — the gay printed skirt, topped with gleaming
white, will inspire you to tie the matching print bandana on
your curls. Print in rose, blue or grey with white top. Sizes
9 to 17 and 12 to 18. "Cotton Dot" (above, left) for a young
and charming frock adorned with yards of ric rac braid. Vicki
wears it without the lined bolero for dancing, wears it with
it for dining. Make a grand entrance — the wide sweeping
skirt will do it. Red or blue on a white ground. Taffeta slip.
Sizes 9 to 15 and 12 to 16. For that "Scarlett O'Hara" feel-
ing, Vicki selects this exquisite picture frock of embroidered
cotton (above,' right). The pleated ruffle on the skirt is edged
with ric rac braid and the shoulder ruffle to match is sep-
arate. Red or navy on white — white taffeta slip. Sizes 9 to 15
or 12 to 20. "The Eyes have it" — we mean that envious glint
that tells you your gown is a triumph — if it's this bow-bosom
cotton evening gown worn by Vicki (opposite page, top) —
brilliant with floral stripes, dramatic in its unbelievably wide
skirt. Blue or red background. Sizes 9 to 15 and 1 2 to 16
WHERE TO BUY THEM
The smart advance Photoplay Hollywood fashions
shown here are available to you at many of the lead-
ing department stores throughout the U. S. right now.
If you will write to the address given below, sending
description or clipping of the hat or garment, you will
be advised by return mail where, in your community,
the item or items may be purchased. These hats and
garments come in all sizes and in all popular shades.
Address your letter to —
Jean Davidson, Fashion Secretary,
Photoplay Magazine, 122 East 42nd St., New York,
New York
5
«
■^W^
^
'"°<:i/£>'or - 7«y0; -Ww
<S
e '^ - 4 ^
Foremost on the shoe horizon is the basic shoe that complements
summer costumes. Joan Blondcll, appearing in Universal's "East
Side of Heaven," wears a classic Tango pump of white buck and
tan calf (note its beautiful detail in photo No. 4), with her white
jacket frock of Coudurier imported linen, printed with hats and
sea horses of red, yellow, green, blue and chartreuse. The halter
blouse is of chartreuse crepe. Joan wears these pumps, not only
with this Irene Original from Bullock's-Wilshire, Los Angeles, but
also with several other summer frocks. Looming just as brightly
on the shoe horizon are countless numbers of novelty shoes that
transform inexpensive casuals into costumes of distinction and in-
dividuality. Pictured are some of these whimsies. (Ij A bright
blue coarse linen-weave fabric, with wedge heel and floral in-
step motif. (2) A red kidskin model, with "double" platform sole
of contrast blue, quilting on the vamp and grooves on the heel.
(3) A perforated oxford of chartreuse felt with raised sole and
"tea cup" heel. (4) Joan's Tango pump. 15) A red felt play shoe,
with cane straw covering on the platform sole. This group
of shoes, which are in a variety of colors, were photographed
through the courtesy of Bullock's-Wilshire, Los Angeles. All are
Delman models except the Tango pump, which is manufac-
tured by Brauer, St. Louis, and was selected from J. W. Robin-
son & Co., Los Angeles. This Tango pump may also be obtained
at Marshall Field Company, Chicago and Macy's, New York
Father Time is at work! Miss Durbin spends
a gala evening of dancing at Victor Hugo's
with assistant director, Vaughn Paul —
— but, confidentially speaking, our choice is this
eager-eyed unsophisticate at the "Three Smart Girls
Grow Up" preview: teenster Deanna with Mrs. Durbin
Our peeking Cal has been at it again
to bring you the inside stuff on those
fascinating folk of fabulous filmtown
Bette's "Victory over the Dark"
PEDESTRIANS in the valley town of Van
Nuys stopped in sympathy as the hand of
a beautiful young blonde gripped the
leather strap of a "Seeing Eye" dog. At the
town's busiest intersection, the dog paused for
the traffic to clear before leading his charge, her
eyes covered writh black glasses, across the
street.
A motion picture actor, glimpsing the little*
drama from his car, almost started from his seat
as if to hail the girl. The cry died in his throat
and he drove on, remarking to his companion,
"There was something so familiar about the
girl it gripped me by the throat for a minute.
I — almost — oh well, skip it."
Sometime later that same actor sat in a
theater watching "Dark Victory." As blindness
crept over Bette Davis, causing her to walk
valiantly but stiffly across the garden, the actor
let out a small hoarse sound that was lost in the
emotional storm in everyone's heart.
At home, he frantically called Bette on the
phone.
Yes, she had been the girl with the dog. She
had completely obliterated her sight with
glasses, placing her life within the dog's care.
It developed, as Bette explained, she is estab-
lishing in California a home for the raising and
training of "Seeing Eye" dogs.
"I wanted to know how blind people feel when
under the complete care of their dogs. I wanted
to share their experience so that I could better
understand their problems and the dogs."
Another "Victory over the Dark," for Bette
Da\
Isn't It Ducky?
A.MONG other things on the Mickey Rooney
five-acre ranch, is a swimming pool and two
ducks. The ducks, like all good barnyard fowls.
have their own pen on the back lot, but every
day that Mickey is working he tucks one under
each arm and carries them up for a dip in his
private pool and he doesn't even blush when
someone wisecracks about "teaching ducks to
swim."
Coeducational?
|N AN effort to find the one and only baby to
appear with Ginger Rogers in her new picture,
"Little Mother." RKO-Radio sent out a call to
Central Casting and soon the lawn was filled
with tiny, laughing, squalling mites marshalled
by eager mamas. One of the little mothers was
in an unusually excited rush to have her baby
tested for the part. She kept shoving the young
hopeful up in the front of the camera, only to be
told she'd have to wait her turn.
The turn finally came, she snatched up the
baby and scurried away in great haste. Ten
minutes later, she was discovered a few sets
clown the line, without the baby, of course, act-
ing as one of the little coeds on the scene of
Anne Shirley's picture, "Sorority House." P. S.
here are two in the family working in the
55
i
Jockey Jack Westrope is Nan Grey's
steadiest "steady." Rumorhas
them Mr. and Mrs.
[
B«
. Gve<5v«
c>eT. .,C\oV>*
fca^
\l&'
a*
\a&
,bor
cc
W
/'&*«***
"&**
H
Indian Invasion
OLLYWOOD, so long used to being spectac-
ular, has been outdone at its own game and
within its own gates by a dozen American In-
dians! The red men were brought to Filmdom
by 20th Century-Fox to appear in Shirley Tem-
ple's new picture, "Susannah of the Mounties."
The studio sent a business executive, a tech-
nical director and a publicity man clear up to
the Blackfoot reservation in Montana for them.
Of the twelve they brought back, only one had
ever been off the reservation before.
They arrived in all their tribal regalia —
leather suits beaded and fringed, feathered
headdresses, long hair and paint — chosen in the
main, not by the studio representatives with an
eye toward pictorial possibilities, but by the
reservation superintendent as a reward for be-
ing "good Indians."
The studio publicity man had been sent on
the expedition not so much to get publiciU as
to keep the press from making wisecracks
about "heap big Injuns in Hollywood," since
20th Century had put up a bond of $50,000 to
insure, besides the red men's safe return, their
protection against ridicule. But they needn't
have worried. Everywhere the befringed and
befeathered twelve went such was their quiet
dignity and magnificent authenticity that no one
thought of writing a funny story.
There was Mad Plume, appointed leader of
the expedition because he is considered the best
Indian on the reservation. Mad Plume owns
broad acres of wrheat and many head of cattle
and sheep. He is an honest, God-fearing, self-
respecting Indian who, although eligible for
an old-age pension, has refused it. "I and my
family do not wish charity," he told the govern-
ment men. "We provide for ourselves."
There was Chief Coward, too, scion of another
illustrious Blackfoot family and a man of im-
portance in his tribe. His name, like the names
of the others, is born of tradition. An ancestor
chief had a son who, believed by the tribe to be
cowardly, was known as "Little Chief Coward."
But. in an emergency fraught with danger, the
son acquitted himself with unexpected bravery,
which made the name "Coward" one of glory,
honored by Little Chief Coward's descendants
to this day.
There were also Yellow Kidney, Night
Shoots, Many Guns, Old Person, Bull Plume,
Turtle. Spotted Eagle, Iron Breast, Big Beaver
and Little Blaze.
56
mOST of them own land and stock on the reser-
vation. All of them know the menace to the
red man secreted in a bottle of "fire water" and
haven't tasted liquor for from twenty to forty
years, if ever. All of them spoke pretty good
English, although it was typical of Indian reti-
cence that when the expedition left Montana
only two had made known their command of
the language. The others had indicated they
neither spoke nor understood it and it took the
exciting days on the train and others still more
exciting at the studio to loosen their tongues.
The visitors were housed on the 20th Century
lot in an especially built "hotel." At first, the
place was heated by gas, but so impressed was
the studio manager by their dignity and appear-
ance that he ordered fancy electrical equipment
installed. They were valeted by a special man
who did nothing but look after their wants.
They were taken on sight-seeing tours of
the city and beach resorts. They were escorted
to the premiere of "The Little Princess," cre-
ating almost as much hullabaloo when they
arrived as did Shirley Temple herself. They
were given $5 each and taken to a five-and-
ten-cent store where they spent every cent on
gimcracks to take home .... all of this, of
course, in addition to appearing in "Susannah
of the Mounties."
For their services, the twelve received S50
a week each, a lot of money to an Indian. All
expenses were paid. Orders were that the best
was none too good for them. When they found
this out, they demanded steak to eat thr2e times
a day until their hosts, fearing that such a con-
centrated diet might prove injurious to their
health, suggested they cut down their rations a
bit . . . which proved to be the only fly in the
pleasant ointment of their Hollywood visit.
Their feelings were hurt at such a display of
inhospitality. As Mad Plume explained, sor-
rowfully, "When Blackfoot have visitor at home,
visitor has all food he desires. White man is
bad-mannered."
The unpleasantness finally passed over, how-
ever, and before they left the studio the In-
dians had, with appropriate ceremony, initiated
the young publicity man who escorted them to
Hollywood into the tribe, no small mark of
affection. They named him "Running Eagle"
and, yes, he accepted their invitation to be a
blood brother in the truly solemn spirit in
which it was offered. As we say in Hollywood,
he "played it straight" ... as indeed it was.
A Woman In Love
[HE elopement of Hedy Lamarr and Gene
Markey is still bringing an aftermath of stories
concerning the event.
Cal, for instance, was driving through Glen-
dale the day the news broke and paused at a
stop signal where a newsboy was shouting the
news. "Extra, extra," he called, "Hedy Lamarr
elopes and breaks a million hearts."
Catching our eye he poked his head through
the car window and sighed, "And I do mean
mine, see?"
We saw. We sympathized. We drove on.
Powell's Decision
IT'S SAD news for the legion of Bill Powell
fans who had hoped soon to see the actor on
the screen again. But only recently Bill made
a momentous decision that must have cost him
many hours of lonely meditation. Once his
mind was made up, however, he didn't hesitate,
but drove, for the first time in many months, to
Metro-Goldwyn-Mayer studios, where he had
spent so many glorious years as a star.
(Continued on page 64)
4>e
"o^r/
PHOTOGRAPHS
BY HYMAN FINK
57
THE KID FROM TEXAS-M-G-M
A \K. trite little star; keepi tin. picture from
■Ittwwigfi . nd perfom
excellent and many of the situations ;ire laughable,
'wind froni Teal who wants to play
my with ■ shipment of polo
to Long Island where he falls in love with
Florence Rice. v. :ed to Robert Wilcox. He
lay, ruins the game and ends
up in a rodeo. Climax of the picture is the polo
deo cowboys and the socialites.
Dennis O'Keefc is the cowhand, and he deserves a
much better assignment. Jessie Ralph turn* in her
usual splendid characterization as Florence's aunt;
and Virginia Dale is the rodeo gir! who loses
O'Keefe. Buddy Ebsen gets most of the laughs.
* * i
ZENOBIA-Hal Roach-United Artists
I HIS is the first of the comedies in which Harry
Langdon replaces Stan Laurel. He is adequate. The
main laugh gag is the elephant, Zenobia, who trun-
dles through the film. The setting is a Southern
mansion and Hardy's role is that of a doctor who has
given up healing ailing neighbors with pink pills.
His main worry is his daughter, played by Jean
Parker. She's in love with James Ellison, but James'
mother, Alice Brady, is a prig and insists he marry
June Lang. Just here Harry Langdon arrives with
Zenobia from a carnival and Zenobia doesn't feel
very well and Hardy gives her pink pills. This
makes Zenobia quite grateful, and if you can make
any sense from the rest of the story you are a
smarter audience than this reviewer.
THE NATIONAL
0 MOTION PICTURES
* WUTHERING HEIGHTS-
Sam Goldwyn-United Artists
I
HE Brontes were never noted for gay writing, and
the studio here has made a point of adding no
touch of humor to the tale of "Wuthering Heights."
It's a study of a group of neurotics — and no won-
der, when you take a look at those moors where
they live. The piece introduces Laurence Olivier
'hcliff. the strange orphan lad befriended by
the family who live in the Heights; as a child he
has a gypsy quality which intrigues young Cathy,
but her brother resents and hates him. Thus, as
the children grow up, love grows between the out-
id the girl, even though the brother, a sot,
forces Heathcliff to live in the stable and act as a
servant. Cnf/i;/. played as an adult by Merle Oberon,
finds herself torn between her sheer physical love
for Hcathcliff. and her desire for jewels and pretty
offered by upright, rich David Niven.
Heathcliff fortune, returns
to find Cathy married to David; and just to make
unhappy, the discarded lover marries
David's sister, whom he loathes. Thus hate rules
everywhere, and there- is keening over the moors,
and the film settles right down to a good cry. Of
course it is given magnificent production and be-
cause of the really fine acting of Miss Oberon and
Olivier, to say nothing of Niven's restraint, there
is a haunting quality about the picture which will
'h you. Olivier has a tendency to be Shake-
.n. but has vitality. Geraldinc Fitzgerald, as
ter, is very good, and Flora Robson does her
job with finesse.
• THE STORY OF VERNON AND IRENE CASTLE
-RKO-RADIO
ALTHOUGH this is a sweet picture and will have
enormous appeal, there is one thing distinctly wrong
with it; and we may as well discuss that before
launching into praise of its good qualities. The
trouble is in the story, and that can't be blamed on
Hollywood because it is a true story, that of Vernon
and Irene Castle, who danced. Gosh, they did
dance! But that's about all they did. You see
Vernon, a poor straight man for comedian Lew
Fields, met Irene when she was an amateur and
they fell in love, and got married. They stayed in
love until Vernon cracked up his plane, and him-
self in it, during the war. So far as career is con-
cerned, they were discovered in Paris and made a
terrific success. And that is simply that. There
is no conflict whatever, but it's got everything else.
It's got so much nostalgia, courtesy of Nostalgia
King Richard Sherman, you will drown in the flood
of your memories if you're thirty or over. And it's
got the inimitable Ginger Rogers-Fred Astaire team,
playing the Castles, recreating for you the dances
Vernon and Irene originated, plus others. Edna May
Oliver plays the crusty old woman who discovers
the pair, and Walter Brennan noses into practically
every scene there is, as Miss Rogers' faithful old
servant-crony. He gives a fine performance. Astaire
is unusually adept in dramatic scenes and adept, as
usual, on his feet; Ginger is stunning, and surpasses
herself while dancing.
You will not want to miss this. It sparkles like
a polished, crystal glass.
* THE STORY OF ALEXANDER GRAHAM BELL-
20th Century-Fox
IT'S no easy job to make fast-moving, emotional
entertainment out of the story of a technician's life.
Mr. Zanuck tried it, with such edifying success he
took over San Francisco's Fair just for the preview.
Don Ameche plays Bell, and after the long series
of comedy roles in which he has been featured it is
nice to see he has kept his propensity for meaty
dramatic portrayal. It was not necessary to em-
phasize to any point of boredom the details of Bell's
inventing the telephone; his story is also concerned
with early work in the teaching of deaf-mutes to
hear and talk. Even his wife, played with sym-
pathy and patience by lovely Loretta Young, was un-
able to hear — and, of course, it was largely through
his love for her that Bell turned to listening devices
which eventually resulted in that black instrument
you pick up so many times daily. The love story,
in any case, has warm emotion and touching pathos,
as well as lighter moments. Just to make the piece
sure-fire, the money interest (so close to the heart
of all audiences) emerges when Bell at last finds
success only to discover a big corporation will try
to take his rights away from him. His friends, be-
lieving in him, mortgage their belongings in order
to give him assistance.
You could not ask for more superlative produc-
tion; Irving Cummings has directed with a sure
touch, and the principal stars are given per-
fect support by such troupers as Elizabeth Patterson,
Henry Fonda (as Bell's assistant) and Charles
Coburn.
58
* BROADWAY SERENADE-M-G-M
JEANETTE MacDONALD does have the best luck
in her pictures. This story could have been so easily
ruined since basically it is somewhat dated. Yet
here again the MacDonald has a hit, largely due
it is true, to her own beauty and voice. She is cast
as the wife of a pianist, Lew Ayres. He is given a
scholarship abroad. They need money for expenses,
so Jeanette accepts a job in a musical whereupon
she is a sensation and Lew doesn't match her suc-
cess. The pair get a divorce. Ian Hunter moves
in at this point, but as the script writers would
have it, Lew is asked to score Jeanette's new show.
Best music is when Jeanette sings the Madame But-
terfly melodies. Ayres continues to prove his re-
cent comeback was a good idea.
* THE LADY'S FROM KENTUCKY— Paramount
UEORGE RAFT, Paramount^ problem child, has
made another picture. Hollywood, ever since the
success of "Kentucky," has hurriedly rounded up its
stock of horses, its prop bluegrass and its Southern
accents for the cycle that picture started. In this,
you do get some swell races and plenty of action
set in the beginning on its hurry-up way by the
meeting of Raft and Ellen Drew. He's a gambler
from the North, she's a Southern gal — and they can't
agree about thoroughbred horses. But Raft has
that virile quality that makes short work of a little
Kentucky daughter's prejudices. Miss Drew is an
attractive and talented young woman. Rait swaggers
convincingly, Hugh Herbert and the too-long-absent
ZaSu Pitts carry the comedy.
SOCIETY LAWYER-M-G-M
REMAKES are always questionable as to quality.
This one was called "Penthouse" in 1933 and starred
Myrna Loy and Warner Baxter. Now Walter Pid-
geon makes love to Virginia Bruce in the same
story, and at least you are sure of some finessed
romantic interludes. Pidgeon, a lawyer, is first in
love with Frances Mercer but this cools when he
disgraces himself by saving gangster Leo Carrillo
from a murder charge. Lee Bowman comes in here
somewhere, and has to be saved by Pidgeon's astute
arguments as well. Of course, when real love comes
to Walter, Virginia brings it — and very prettily, too.
Eduardo Ciannelli has one of his heaviest roles to
date and handles it with obvious delight. Miss
Bruce looks beautiful and Pidgeon is suave.
; A V E S YOUR PICTURE TIME AND MONEY
THE BEST PICTURES OF THE MONTH
Broadway Serenade Dodge City
East Side of Heaven Love Affair
The Story of Alexander Graham Bell
The Story of Vernon and Irene Castle
The Lady's from Kentucky
Three Smart Girls Grow Up
Wuthering Heights
BEST PERFORMANCES OF THE MONTH
Jeanette MacDonald in "Broadway Serenade"
Errol Flynn in "Dodge City"
Bing Crosby in "East Side of Heaven"
Sandy Henville in "East Side of Heaven"
Irene Dunne in "Love Affair"
Charles Boyer in "Love Affair"
Loretta Young in "The Story of Alexander
Graham Bell"
Don Ameche in "The Story of Alexander Graham
Bell"
Fred Astaire in "The Story of Vernon and Irene
Castle"
Ginger Rogers in "The Story of Vernon and Irene
Castle"
Walter Brennan in "The Story of Vernon and
Irene Castle"
Deanna Durbin in "Three Smart Girls Grow Up"
Charles Winninger in "Three Smart Girls Grow
Up"
Robert Cummings in "Three Smart Girls Grow
Up"
Merle Oberon in "Wuthering Heights"
Laurence Olivier in "Wuthering Heights"
* EAST SIDE OF HEAVEN— Universal
IT'S to be hoped that Sandy will not be through like
Baby Leroy at eight months. He's probably past
that dangerous age anyway. Sandy is the star of
this picture — stealing it, as cute moppets have a
way of doing, right from under the noses of the
principals, Bing Crosby and Joan Blondell.
You may expect, as from all Crosby films, plenty
of sweet melody sung by that voice of his. The
songs are hummable, but not up to the usual stand-
ard. Perhaps we have come to expect too much of
the Bing. because, no matter its faults, the piece is
entertaining. Mischa Auer does his regulation mel-
ancholy Russian act and there's a thoroughly un-
I pleasant radio announcer, played by Jerome Cowan
who has only to tip his hat to a lady and hisses are
| elicitated from any audience.
Well, now for the story. It begins with Bing who
I sings messages for a telegraph company. Joan
I Blondell works at a hotel switchboard and the two
I of them are eternally on the verge of marriage.
I Something usually stops them and this time it's
I Sandy, grandson of a millionaire (C. Aubrey Smith).
I His mother, Irene Hervey, is an old friend of Cros-
Iby's: is married to a drunk (Bob Kent): has left
I the drunk and is trying to keep her child away from
la court order. Complications get everybody into
Itrouble and Bing sings his way out of it. Produc-
tion details are handled deftly, most of the laughs
Igo to Auer, Joan looks piquant and very pretty. A
|first-rate picture, wholesome and entertaining.
(■Continued on page 89)
59
t
tf
■
^m
—
V
Cameraman George Diskant and RKO's
between Ginger Rogers and David NiveJ
There's something old, something]
new, something borrowed, something]
blue in this month's film news
S
OMETHING old, something new, some-
thing borrowed, something blue" — thai
classic chant of all brides is exactly what
we need to sum up the Hollywood studios this
month, where "something old" is that never-to-
be-forgotten "Beau Geste," now being remade
with Gary Cooper, Bob Preston and Ray Milland;
where "something new" is Hollywood's wonder
director, Garson ("A Man to Remember")
K;min, at work on "Little Mother"; and Clau-
Colbcrt becomes the "something bor-
rowed," for she's at work in M-G-M's "It's al
Wonderful World": while Bette Davis providesl
lomething blue" in that tear-jerker, "Thc|
Old Maid."
We look in on one of our theme pictures, "It'sl
■ Wonderful World." at M-G-M. We find Clau-[
James Stewart and Ernest Trurxl
mixed up in a noble experiment with Director]
W. S. Van Dyke. They're shooting the whole!
picture from a newfangled camera boom. And|
in two successive scenes we watch them do the
very first scene in the picture and the very lastll
60
H?t4
- <F
L4f
Bette Davis, the screen's number one Duse,
Director Edmund Goulding and Miriam
Hopkins are responsible for this month's
tear-jerker — "The Old Maid"
That famous old classic, "Beau Geste," comes to lite with Bob Preston,
Gary Cooper and Ray Milland. But a mouse steals the show from them
not. And in a minute that's just what they do.
Only this time Jimmy isn't despondent any
more. He's got Claudette in his arms. That's
the last scene of the picture. For the rt -
your neighborhood theater.
The minute the acting stops Jimmy St.
grabs a big malted milk his valet has brought
him and starts working on it.
"Tell No Tales" is our next stop on the
M-G-M set line-up. A rumor that a hundred
dollar bill figures prominently in this picture is
enough to attract us. There's always the chance
somebody might leave it lying around. But
when we arrive Melvyn Douglas, calm and col-
lected as usual, is tucking the century note in
his vest pocket while he loads up on movie
whiskey — cold tea — at a bar.
Nevertheless, we stick around to watch Mel-
vyn, Louise Piatt and Gene Lockhart perform
for Leslie Fenton, another ex-actor turned di-
rector.
Melvyn plays an ace newspaper reporter in
this mystery thriller. He receives a S100
ransom pay-off note at this very bar and starts
tracking down some kidnapers. Every step he
takes uncovers another story. He wades
through five desperate, daring chapters before it
all comes to the unraveling stage.
We brave the smoke pots which energetic
"grips" are swinging around in the air to make
a realistic tobacco fog in the saloon, and watch
the scene. In it Gene Lockhart plays a tune
on the piano. He pounds out his own compo-
sition "All the World Is Waiting for the Sun-
rise."
"Gene," protests Melvyn, "would you mind
playing something else? It brings back sad
memories. When I was flat busted in a fur-
nished room once in New York, some guy next
door played that thing all day and all night."
"Where was that room and when did you live
in it?" Gene asks, and Melvyn tells him.
"Then I'm sorry I disturbed you," Lockhart
grins. "I was that guy next door. That was
just where and when I wrote it!"
Our favorite Metro series, "Tarzan," is in
Florida shooting Johnny Weissmuller under
water at Silver Springs. So we take in "Calling
Dr. Kildare," which has all the earmarks of
another series starting up.
Lew Ayres. of course, is the young interne in
a big hospital where Lionel Barrymore, director
of the hospital, teaches him that science isn't the
only side of medicine: there's the human side,
too. Lana Turner seconds the motion, but in
a different way. She's a pretty young thing who
brews Doctor Lew a peck of trouble.
Lew is aseptic and sterile in white when we
arrive, but they're squirting prop blood and
perspiration on his handsome face. The set's a
big hospital with prim rows of cots and nurses
gliding about on the scrubbed floors.
Lew and Lionel go through their lines while
a real doctor stands on the side fines and
(Continued on page 72)
Now she's a poetess — Claudette Colbert who
goes to town with Jimmy Stewart in M-G-M's
screwball comedy, "It's a Wonderful World"
SECOND CHANCE
BY NINA WILCOX PUTNAM
Concluding the delightful story of
a grand old trouper, whose nature
could not change but whose luck did
The story thus far:
WHEN Marie La Tour, star of silent
pictures, discovered that she was al-
most penniless, she hit on the idea of
launching Betty, her orphaned granddaughter,
on a Hollywood career. This career hit its first
snag when Marie discovered that Benny Ross-
man, an enemy of long standing, was in charge
of Goldmont Studio, the home of her past suc-
es. Betty, however, on her own, met
Christie Beall, a young director at Goldmont,
who cast her for a minor role in "Bringing Up
Mother."
On the first day of shooting, Chris asked
:e to be on the set to give Betty confidence.
Since Rossman was out of town, she agreed to
do so. Chris asked Marie to run through Betty's
scenes for her. He shot them "just for a gag"
— or so he told Marie.
At the studio preview, the audience reaction
was lukewarm to Betty's performance, but when
Beall's second version, with Marie in Betty's
part, was run off, her performance rolled 'em in
the aisles.
Betty accused her grandmother of double-
crossing her and ran away from home.
At about this ume, old Jelliff, ex-hoofer and
a close friend of Marie's, arrived in California
from New York. Marie told him about Betty
and also about her dire financial state. Even
the success of Marie's part in "Bringing Up
Mother" amounted to nothing when Rossman
it. He not only refused to release this ver-
0 fired Chris, telling him he could
take the cans of film. He never wanted to see
him — or them — again.
while, M;nie discovered that Betty was
ing at Lydia Watts' home and went there to
irn. It was on thai same day
that JellifT, job hunting, was run down by an
mobile. When the news reached Marie at
y, in swift sympathy for her grand-
mother, returned home with her.
Jelliff would be laid up for weeks. With bills
piling up appealed to Chris to help her
find work. He arranged for Mr. Reis, producer
Liberty, to come for cocktails. He advised
to pull the society act, be "hard to get."
The setting was perfect, Betty had gone off
for the afternoon with adagio-dancer Alee
Lorm. II '11 that Chris had pictured him
and was taken in completely b grand*
dame act. Jusl as Marie had "reluctantly"
agreed to make a picture for him, somebody
came across the hall. It was Mrs. Phoopher, the
owner of the house. She was outraged that her
retaker" was entertaining in her living room
and ordered Marie and her guests out. Marie
knew that her goose was cooked as far as a
contract with Reis was concerned — but it was
good to see Betty, who had crossed the lawn on
hearing upraised voices, come toward her with
outstretched arms.
Now continue this story:
I EW people have got moral courage enough to
admit they'd rather have a banana split than
Russian caviar. But I know what I like and
have never been scared to admit it, so I must
say the sugary little house Chris found for us
was just what I preferred. If nothing else, it
was a wbolp lot enVier than the big Beverly Hills
mansiorrtrom which we had just been kicked
I out. But then any place you have been kicked
out of loses its flavor.
Our new half-portion home was in a bunga-
low-court, and Gawd knows you could of caught
anything the neighbors had on account the
buildings were so close together. Radio City
would of been a good name for it, because radios
to the left of us, radios to the right of us vol-
leyed and thundered, to quote the author of the
Electric Light Brigade. Everything in the place
turned out to be something else the minute you
examined it, which is what thoroughly modern
means in Hollywood. The desk had washtubs
underneath, the near-oil painting on the living-
room wall dropped down and turned into an
ironing board, and every door had a surprise
behind it, ranging from iceboxes to beds. But
there was Bougainvillaea and sunshine over all
and a very low overhead. From his in-a-door
bed Jelliff admired the whole thing contentedly.
"Seems more like the old days when we was
all young and struggling together," he says. "It's
the first time I've been uncomfortable enough
to feel perfectly at home in years."
Betty was looking at my old theatrical trunks
in disgust on account they were occupying
pretty nearly all the floor space.
"And these wretched things," she says. "They
lend the finishing touch of atmosphere. Gram,
I don't see why on earth you insist on keeping
them."
"Those trunks have owned me for the past
thirty years," I says, "and I don't know if I could
persuade them to give me up. Some day I and
they will have it out. But in the meanwhile
we'll Just line 'em up like a sofa and throw a
portiere over them. They will make a good
place for unwelcome company to sit."
NOT, however, that any company came for the
nev ! days. Alex Lorm hadn't been
around since the night of the Big Blow and
while Betty refused to talk about him, I gathered
she had decided against Swing Adagio as a way
of tossing herself into fame. Or maybe Alex
had come to the conclusion she wasn't worth
tossing. Anyways, Betty went around with an
air of being off all men for life. She had avoided
speaking to Chris when he helped us move Jel-
liff and when a little later Chris finally blew in
one day to see if we were getting along all right,
Betty saw him first and sneaked out of the back
door. I hadn't the heart to let him know this,
because he looked so worried and tired.
"We are all feeling fine," I lied to him. "Bet-
ty's out looking for work and something is bound
to turn up soon."
"I am getting the Hollywood handshake, my-
self," he told me, trying to laugh. "You know,
shaking hands and being pushed away at the
same time! If a fellow's out of work for two
weeks he's trying to make a comeback accord-
ing to this lousy town. And I'm only one day
under the dead line."
I wished him luck and pretty soon he left,
both of us wearing phony smiles. And after
that we didn't see him for quite some time.
Chris had tried to lend me money but I wasn't
taking any. We were eating my gold vanity
case at the moment, but there was still a couple
of bracelets and a watch or two left in the larder,
which was sufficient to give an old trouper, such
as myself, courage to face quite a lot. But
eventually, as time trickled on and no jobs
marched in, even my back-flips didn't seem to
help my nerves much. One cheerful thing how-
ever was the way JellifT got well. The day he
sat up in a chair and asked for a copy of Variety
I knew he was practically cured.
WHEN this happened I went out and bought two
copies of the same issue so's we wouldn't fight
over who was to read it first. Then we took
them out onto the porch where we could sit in
the sun and I was up to my ears in news of old
friends, thoroughly enjoying myself on account
that Variety is the only foreign-language publi-
cation I can read fluently. Then all of a sudden
Jelliff gave a shout.
"Turn to page sixty-eight," he yells. "See,
• where it says 'Inventory Dig-up Tops New Pix
Grosses.' "
Well I turned to the right page but for once
; [ could not translate immediately.
"Well?" says he in a triumphant tone. "I didn't
want to say anything the other evening
jut. . . ."
"But what?" I says, bewildered.
"Can't you read?" he shouts, getting even
I nore excited. "It's about that reissue of 'Lillie
i )f the Valley' — don't you remember it?"
"I'll never forget it," I says with a shudder.
' 'Why remind me?"
"Because it's topped all grosses for the month,
1 hat's why," says Jelliff, "including the A pic-
1 ures from the major studios. That means your
I lame is a household word all over the country
t oday. You mean something again, Marie. Not
1 (Ut . . ."
"It's just a fad," I says feebly. "It can't mean
mything, really."
"The hell it can't," says Jelliff. "Don't you
(Continued on page 78)
62
THE STORY OF A GREAT STAR'S
COMEBACK
EiMV£ £&f«L4y
Cal York's Gossip of Hollywood
"I'm not going i:ito 'The Thin Man
Returns'," he srid. "I've thought it all
.ind if anything should happen to
my health while we are in prodm
it would mean a complete loss of time
and money to you. I do not believe I
should shoulder that risk."
And with never a hint of the grief
that decision must have cost him, he
drove out the front Rate with a smile
and a wave of the hand to the many
friends he left behind.
Recently at a preview of a Bob Hope
radio show, Bill stepped from the wings
for his role to the thunder of applause
that lasted for four full minutes.
He stood there and waited, a smile on
his face and a mist in his eyes.
So good luck and best wishes to one
of the best— Bill Powell.
Idealist
nE had a tete-a-tete with young Jo
Ann Sayers on the Metro lot the other
day. We think we have never seen a
prettier, nicer, more charming young-
ster than she is . . . nor one who is car-
rying higher the torch of idealism. She
has been in Hollywood almost a year,
but to date no disillusionment has
marred her enthusiasm for a career, her
confidence in herself, her belief in
others, her youthful joy at merely being
alive.
You remember her . . . ber screen de-
but was in "Young Dr. Kildare," as the
young society girl who became a "men-
tal case." You remember her in
"Huckleberry Finn," "Honolulu" and
"Fast and Loose." Yes, and she's good,
you say. Well, we think so too.
Yet it is something else about her that
attracts us most — the kind of girl she is.
Her real name is Miriam Lilygren and
she has lived in Seattle most of her
life. She is a former student of the
University of Washington and a "Tri
Delt." She has a mother and father and
two sisters, one older, one younger than
herself. She is crazy about them all.
She thinks her parents the handsomest
couple she knows and the best company.
In 1937, her mother, an aunt, an uncle,
her elder sister and herself were all
enrolled at the University and having
the time of their lives.
She got her screen contract "as easily
as falling off a log." A talent scout saw
her in a college play and in due time
she was asked to sign on the dotted line.
The Lilygrens held a family conclave
about this. They decided it would be
"fun" for "Mimi" to be in the movies.
The money didn't count. Her father is
well off. But it would be interesting,
they thought.
So, with her mother and younger sis-
ter, she moved to Hollywood and be-
came Jo Ann Sayers. Since then, life
for her has been "just about perfect,"
she says. Her career seems all set.
There has been no unpleasantness, no
disappointment, no heartbreak. Suc-
cess has come like magic — easy, lovely
magic.
Well, we hope it will keep on that
way. We hope nothing will happen to
change the happy, sincere, lovable
youngster that Jo Ann is now. But we
aren't so sure as she is about that.
Y.Vve been around Hollywood for a
long time and have seen things happen
to kids like her — sudden, unexpected,
bitter things. She is different from most
of the picture girls we know right now
. . . more, as we said, idealistic; more
certain the world is a beautiful place
to live in.
But we have jotted down in our "little
black book" a reminder to interview her
again one year from now. We wonder
if she will be the same girl. We sin-
cerely hope so — but our fingers are
crossed.
(Continued on page 66)
( swam FRAGRANT k
(SK//V M/VS HEARTS
VROff/xtdMa
j-
Lux Soap's active
LATHER LEAVES SKIN
REALLY SWEET,
DELICATELY
FRAGRANT
YOULL LOVE THIS
LUXURIOUS BEAUTY
1 BATH. TRY IT !
a Lux Toilet Soap
BEAUTY BATH IS THE
BEST WAY I KNOW
TO PROTECT
THIS CHARM
STAR OF PARAMOUNT'S
Ian about Town"
IhiS lovely Hollywood star
tells you a secret that is helping girls
everywhere to win popularity — romance.
When you make Lux Toilet Soap your
daily beauty bath, you're sure of dainti-
ness. The ACTIVE lather of this fine
complexion soap leaves skin really fresh
— delicately fragrant with a perfume
that clings. You'll love it.
The Complexion Soap 9 out of 10 Screen Stars Use
JUNE, 1939
65
t >
5Jhz 6/ncvd
"tnod&ui
Wire From Kay Francis
minimum
»
t
\ SANI-SCANT
WITH *NOBELT
WAISTBAND
$100
■I'
You can depend on Sani-Scam. It's
made of fine quality non-run
striped rayon, its skilfully-cut pro-
tective panel is adequate, and pad
tabs, proper!) placed, make a sepa-
rate belt unnecessary. \<> annoying
ridge or wrinkle to show through
your skirt — the garment is fitted
as snugly as a dancer's panty.
The patented \OBELT feature
assures you a comfortable waist-
band whose elasticity will outlast
the garment. Sani-Scanl is a "must"
for college and career women — the
smart "modern minimum" in effi-
cient sanitarj protection.
SIMPLOX
-• C":
ate Mini
■ r i r i . i . ■ "
I
•' thr pad
ami it h.i ii
i up.
1
V 1IKYN
PHOTOPLAY
MAGAZINE
CHANIN BUM.
D ST.
DR PLEASE UNDERSTAND
THAT THIS IS NOT A COMPLAINT
BUT I FEEL THAT THE FOLLOWING
ITEM IN YOUR AI'KIL ISSUE
SHOULD BE TED QUOTE
WE SHANT FORGET THE LOOK ON
HER PACE WHEN SHE SAW HOW
THINGS WERE SURPRISE HURT
DISMAY WERE WRITTEN THERE
FOR A TRAGIC REVEALING IN-
STANT UNQUOTE SINCE I DID NOT
ATTEND THE GUNGA DIN PRE-
MIERE HOW CAN IT BE POSSIBLE
THAT I WAS DISAPPOINTED IN
NOT BEING PHOTOGRAPHED AT
THE PANTAGES THEATER THAT
NIGHT. I HAVE ALWAYS BELIEVED
THAT OF ALL THE FAN MAGA-
ZINES YOURS WAS THE MOST AC-
CURATE SO YOU CAN IMAGINE MY
SURPRISE AT READING THE
ABOVE SINCERELY
KAY FRANCIS
Something to Shout Over
Twentieth century-fox is pretty
elated over Nancy Kelly these days and
not entirely on account of the good work
she has done in "Jesse James," "Tail-
spin," et al. No, it seems that the stu-
dio's photographic department has dis-
covered that Nancy "has legs," which is
a cameraman's way of saying she has
good legs and is therefore a fine sub-
ject for "leg art."
They found it out one day when she
was posing for "stills" in connection with
"Stanley and Livingstone." Straight-
way, studio fashion experts descended
upon her with bales of bathing suits,
shorts and other abbreviated apparel.
She has been spending something like
a day a week posing for pictures in
same, ever since.
Dorothy Lamour Versus Sarong
n PIECE of cloth, wrapped as a sarong,
has grown into a nightmare of grief for
Dorothy Lamour. Little dreaming the
garment she wore in several early
movies would become her trademark
throughout the movie world, the star
now wishes .she had never seen or heard
of the Soi th Seas costume. Out of it
has grewn humiliation and, as Miss La-
mour clains, hindrance to her career.
Climaxing a series of unhappy pub-
licity stunti the false rumor spread that
Dorothy h. d consented to appear at the
New Yorl^ World's Fair minus her
clothes.
Natural!] this report was instantly
denied bu the hurt in Dorothy La-
mour's eye > still remains.
"And all " as she weeps, "because of
one piece i f cloth."
Let's put on a campaign of "No More
Sarongs f o • Lamour," and help a grand
gal along.
Ding Dong,
A
t
•T M ll-i
Id INTO-N1 \\ ^ ORE I ONDON
J
Wedding Bells?
s Tyrone Power purchased
• Moire's beautiful Beverly Hills
report! of his early mar-
to A 'inalx'lla, French actress, flew
thick and
When Trronc refused to comment. ■
up] roached Annabella, but the
only reply was. "Look. I can chew gum
just like / merican girls."
So hei e i omes the bride, chewing gum
tln^g, maybe.
( Continued from page 64)
In Passing
nE WERE looking through Ann Sheri-
iouiidenti.il biography the other
daj You know, those questionnaires
•i up by the studio and filled in by
the stars, which "outsiders" like our-
• n't supposed to see, but do,
'noes. Ann's didn't contain any
dark secrets, though. Even the conten-
tion ol Warners' publicity department
that she is only twenty-four years old,
was Corroborated here. We noticed one
funny little thing, however, which, we
thought, is just like Texas Annie, who
wouldn't take herself seriously on a bet.
In answer to the question. "What US
your chief ambition?" she had written,
"To be an actress, ha, ha!"
Good Clean Fun?
I HERE is a certain man-about-Holly-
wood by the name of Albert Morin
who, besides being an actor, has worked
himself up into the unique status of
Filmtown's No. 1 Professional Ribber.
His performance is smooth. He is
usually introduced to you as a man who
knows a good deal about whatever
business or profession you happen to
be in. Then he proceeds to insult you
in a subtle but wholly obnoxious man-
ner. If you are a writer, he insinuates
your stuff smells and mentions authori-
ties to prove his point. If you are an
actor, ditto. And all the while, those
"in the know" are having an elegant
time watching you burn.
It was on a set at 20th Century-Fox
that they fixed up a Morin rib on Jack
Haley. First, a publicity man introduced
Ribber Morin to Jack as an important
Canadian drama critic. "Be decent to
him, Jack. He can make or break you
in the Dominion," the publicity man
begged.
Right away Morin started out to in-
sult Jack. He remarked he had never
heard of him. After each scene he of-
fered suggestions as to how Jack could
"get away from hamming." Later, he
frankly announced he thought the pic-
ture would be awful, but said he sup-
posed it would suit the "stupid Amer-
ican public," well enough.
Jack, of course, was furious and at
last he started to tell his tormentor
where he could go and what he could
do. Whereupon the publicity man,
feigning consternation, hurried him
aside. "For Pete's sake, Jack," he
pleaded. "That guy is dynamite! Don't
make him mad. He can ruin you and
also this picture in Canada! You've got
to apologize."
Jack expostulated, but finally
agreed. "Okay, if I've got to. But he's
a blankety-blank — "
Still he made an effort. "Say," he be-
gan to Ribber Morin who, knowing
what to expect, was waiting for it with
an extrainsolent leer upon his face. "I
want to apologize — "
But that was as far as he got. His
outrage was too great. "No!" he yelled,
suddenly. "I'll be damned if I apolo
You're a blankety-blank-blank, and I
don't give a blankety-blank-blank if
you ruin me in # the whole blankety-
blank-blank British Empire! I still think
you're a So-and-So!"
Whereupon everyone laughed; Morin's
real identity was explained to Haley
and that was that.
Speaking of "ribs". . . They ribbed
Sidney Toler on a piece of script for
"Charlie Chan in Reno" the other day,
too . . . Fixed up a couple of pages with
so many large and difficult-to-pro-
nounce words in it that no one could
have said 'em. Finally, when Sidney
came to the tongue-twister phrase, "ad-
mirable perspicacity" he caught on. but
he didn't tip off actor Morgan Con-
way who had also been given lines in
the fake script. Conway had a terrible
time, made no easier by Toler's critical
prodding ... In fact, he sweated and
stewed so hard that at last, jittery be-
yond control, he lit a cigaret, the first
he'd had since he'd sworn off smoking
five years before . . . Which was more
than Sidney had bargained for and he's
been apologizing to Conway ever since.
Help Yourself to Beauty
— that's the title of a book by Helen
Macfadden, daughter of Photoplay's
publisher. A former Ziegfeld girl and a
beauty in her own right, she brings you
the most expert and up-to-the-minute
beauty advice — direct from the glamour
girls of the stage and screen. In her
early teens, Helen learned that the
building of health led to the building
of beauty; that a sound and intelligent
physical life is the power behind allure.
Her "dos" and "don'ts" in the care of
the skin, of bathing, of posture; her
"whys" and "wherefores" of proper
diet and excercise; of the hair, the eyes,
the teeth; of make-up and colors com-
plimentary to blondes, brunettes and
redheads — give a superb working
knowledge of how to develop and care
for your good looks, whether you are
schoolgirl or grandmother or — like the
author herself — the charming young
mother.
"Loos" Woman
Madeleine carroll tells this one
on herself. It seems that her first screen
role of any importance was in a British-
made picture called "The Guns of
Loos." Upon its release, the film was
hailed joyously by a small paper pub-
lished in a suburb of Birmingham, Eng-
land, her home town, with a piece ob-
viously meant to be headlined as fol-
lows: LOCAL GIRL MAKES GOOD
LOOS HEROINE!
Which, Madeleine points out, would
have been startling enough, without
the "E" which the printer accidentally
added to LOOS.
Chef Chuckle
THEY have a chef at the RKO com-
missary who is something of a creative
artist. He is always making up special
dishes and naming them after RKO
celebrities. Examples: "Ginger Rogers
salad"; "Cary Grant souffle"; Anne
Shirley potage" and so on. Usually
these dishes, with their titles, become
a permanent part of the commissary
menu.
His last inspiration, however, was
quickly relegated to oblivion by studio
officials. It was named after a certain
contract player not too noted for his
histrionic ability . . . and its chief in-
gredient was ham.
Hymie Is a Policeman —
PHOTOPLAY'S picture man. Hymie
Fink, is bursting with pride these days,
for he's been appointed a member of the
Shirley Temple police force. It is really
something to boast about, for Shirley
does not invite every Tom, Dick and
Harry to join.
The police force has quite a history.
In her younger days (two years ago),
Miss Temple, inspired by the game of
"Cops and Robbers," organized the cast
and crew of her current picture into a
police force, using paper clips for badges.
Then, tiny "G" men badges, which
Shirley's mother donated to the cause,
replaced the paper clips, until Shirley's
director, Allan Dwan, had two hundred
badges specially made. These he pre-
(Co?itt7iued on page 68)
d6
PHOTOPLAY
&7t
FOLLOW TODAY'S EXTRA SKIN CARE
Titled U. S. Visitor — The Lady Ursula Stewart, sister of
the Earl of Shrewsbury, Premier Earl of England. "I always
use Pond's to cleanse and soften my skin."
Daughter of the Earl and Countess of Mayo. Deeply interested in acting,
The Lady Betty Bourke has studied 4 terms at the Royal Academy of Dra-
matic Art. She believes in the new skin care with "skin-vitamin" in Pond's.
Royalty Attended Her Wedding — The Lady
Grenfell, snapped at Ascot. When skin lacks Vita-
min A, it gets rough and dry. "I use Pond's to
help supply this 'skin-vitamin.' "
In Smart Society Journals, photographs of the
charming Lady Morris often appear. "Pond's is
famous for smoothing skin — adds sparkle and
glamour to my make-up!"
In Britain, as in America, smart so
women are quick to grasp the mean-
ing of the new skin care. Vitamin A.
the "skin-vitamin" so necessary to skin
health, is now in every jar of Pond's
Cold Cream.
Skin that lacks this vitamin becomes
rough and dry. But when "skin-vitamin"
is restored, it helps make skin soft and
smooth again.
Use Pond's night and morning and
before make-up. Same jars, same labels,
same prices.
lm. '■..'
♦ Statements concerning the effects of the "skin-vitamin" applied to the .Lin are based upon medical literature and tests ou the .Lin of animal, folio* ing mm sec
JUNE, I 939
67
■•.trBru
Wl I H heirloom jewelry definitely
• hat more thrilling costume
-imaginable than thesedmnc
adaptations from the Empress' priceless
court jewels in Warner Bros.' two-mil-
lion-dollar production "Juarez."
Each ring, each dip, each earring,
■■tunning bracelet and lovely neck-
lace enshrines in stone and metal the
devoted tenderness of the Empress for
her beloved, tragically fated Maximil-
ian. See this jewelry
now n roan favorite shopi
Each piece bears the celebrated imprint
of Ricarde of Hollywood, who de-
signed these authorized, authentic
adaptations.
There are five complete "Juarez"
ensembles. Choose not just one, but
several. Or select individual pieces...
J unexpectedly low, from 1.95 to
7.50.
"Crealioni b) KiCHAcLe o/Hollyuood"
Ff tit nam *J ' yHT mtjmt JtMtr. u rilt to:
HOLLYWOOD JEWELRY PRODUCTS. INC
UK, HtitjmmJ B~ln*rJ . Httlju ~J. Chfw
C 1VJ9
prise, and
now the n ■
..ill shield with
mounted on top and the ••
he ihield.
in tins police
: only Sim ■ who
.-lull ur shall not belong. In the raster
h people u J. Ed-
lent's grand-
children, Sistle and Buzzie, and Noel
rd, not to mention Shirley*! favor-
ite electricians, prop men and photog-
Y..U do not have to
famous movie star to be appointed — in
I. ut there are very few movie people
in tin- foi
Shirley keeps a keen eye peeled for
any infractions of the Force's rules, and
wo<- to the member caught without his
or not keeping it shined! Her
lines for disobedience are plenty strict,
and there is absolutely no higher court
ol appeal. At the end of each year, the
line money it donated to some worthy
— And He Gets a Summons
EDWARD C. ROBINSON, JR. (Manny,
to you) turned six the other day, and
Hollywood's small fry society turned
out in full force to help him celebrate.
No Eton suits and pink frilly dresses
for this affair — no siree! It was a rip-
roaring Western jamboree, with all two
hundred of the young guests dressed for
the occasion in full cowboy and cow-
girl regalia.
Invitations to the party were the real
McCoy in court subpoenas, issued by
"Chief" Manny, who summoned his
guests to appear on the appointed date
at the "Higginsville Jail." Manny's spe-
cial deputies, equipped with police
badges and double-barreled cap pistols,
met at the home of Captain Vallence of
the Beverly Hills Police Force, and were
transported from there in a genuine,
honest-to-goodness "Black Maria" a
mile up the canyon to "Chief Manny's
Higginsville Ranch " There the kiddies
found ponies to ride, lassoes to swirl,
a hoosegow with real bars to get locked
up in, and literally hundreds of hot
dogs to consume.
Hymie. who pinch-hit for Cal York
at the affair, had to run his legs off to
keep up with such exuberant young
celebrities as Norman Powell (Joan
Blondell's son), Gary Crosby, June and
Stuart Erwin, Wesley Ruggles, Jr.,
Ricky Arlen, Peter Douglas (Melvyn's
youngster), Sandra and Ronnie Burns
and Miriam Hopkins' boy, Michael.
Need we add, a wow of a time was had
by all?
We Prophesy
KaY GRIFFITH will
change John Howard's
mind about remaining a
1) ichelor, and soon . . .
Romero may
change Ann Sheridan's
mind about remarrying
.Old al o soon. . . .
Wallace Beery will
re-woo h i s divorced
wife Rita, with a deter-
mination to be a better
husband next time, if he
her. Not that W.illy
t always a kind
. . .
Tyrone Power placed
that sparkler on Anna-
I) lias fblger to forestall
publicity concern-
ing him and Sonja Henie
when they began to work
her on their new
picture, "Second Fiddle."
(Continued from page CG)
Portrait of an Actress Viewing Stills
At Iiene Dunne's for tea. recently, we
■ I quite enjoyably that Irene's
of humor i- not confined to the
n alone.
A publicity man from RKO Studi"
brought out a packet of still pictures
tor her to pass on prior to their release
to the press and. begging our pardon
lor thus intruding business upon social
amenities, Irene seated herself behind
her desk and Ix'gan to skim through
them, keeping up a running fire of com-
ment as she did so.
"I look as though I had a toothache in
that one . . . Ah. Topsy herself! See
the way my hair stands on end . . .
Better title that one, Hearts and Flow-
ers with a Stomachache . . .' Ye gods,
'The Dying Swan!' I don't see why I
must appear so vacuous when I try to
look ethereal ... I look like a convict
in that one . . . And a wrestler in that
one . . . And Whistler's 'Mother' in that
. . . Heavens, my double chin! I had
been trying to keep it a secret. . . ."
And so on. She okayed them all,
though.
"You know," she confided, "I don't
seem to care as much as I used to how
I look in print. I was getting so tired
of seeing myself in 'Glamorous Poses
Numbers One to Ten' that I figured the
public might be, too."
Boulevard Vignette
IT was a big preview night on the
Boulevard. The kliegs were racing,
flooding the sky; the fans were block-
ing traffic. An autograph-hound stopped
Ann Rutherford.
"Won't you sign my book, please?"
"Certainly." Ann suited action to
word, but was not rewarded with
thanks. Instead —
"Oh, but you didn't write 'Polly Ben-
edict' " (Ann's role in the Hardy series
in case you haven't been following
them).
"No, my name is Ann Rutherford. . . ."
"But you are 'Polly Benedict,' aren't
you?" the fan insisted.
"Yes, but — that is — "
"Well, then," imperiously — and fans
know how to be imperious at times, take
it from us — "write it down!"
So, obediently, Ann did as she was
told, wondering just what sort of fame
it is, anyway, that robs you of your own
identity!
"Papa" Spank
THAT young English actress, Virginia
Field, was working in three pictures at
once and trying to get them all done so
as to reach London in time to be pre-
sented at the March court.
Photo from !
A dictionary proves a godsend to a Paris gendarme and Luise
Rainer, who has deserted Hollywood for the French capital
One day. she came driving lickety-
split up to Metro, late for a fitting, only
to discover there was no space to park
her car. No place, that is. except the
'ive parking lot. This is the size
of a golf course and there were only
three motors standing in it.
Miss Field drove right in. She had
trotted through the studio gate and was
half a block down the studio street when
the gateman called her back. "You'll
have to move your car," he told her.
"Papa doesn't like it."
"Who said anything about my car?"
The girl was getting livid.
The gateman pointed to the figure of
a gray -suited man disappearing into a
building. "Papa."
"And who," asked Virginia tensely,
"does 'Papa' think lie is?"
The gateman grinned. "Louis B.
Mayer," he said.
Miss Field moved her car.
The Rescue of Charlie McCarthy
LDGAR BERGEN happened to sit next
to us at the studio preview of "You
Can't Cheat an Honest Man," and while
we were waiting for the "curtain to
rise" told us an anecdote from his past
that (being a rabid McCarthy fan) prac-
tically made our hair stand on end.
It seems that when Edgar and Charlie
were touring with a Chautauqua unit
one summer, Edgar went out to lunch
in the little town where th»> Chautauqua
was playing, leaving Charlie in his usual
suitcase in their dressing room.
Suddenly a fire siren sounded. "The
Chautauqua tent is on fire!" people
screamed.
Edgar said he is sure he set a new
world's record in his sprint to the flam-
ing tent. But he would have been too
late and Charlie would have been no
more had not an opportune rain come
up and put out the fire.
The Private Exploits of Tarzan
TaRZAN WEISSMULLER has been
running about a good deal with Beryl
Scott, a San Francisco deb. When
someone asked him the other day if he
would marry her, he said, "I think so."
That would be when his divorce from
Lupe Velez is final next August, of
course. But don't rely too much on the
idea. This department, upon such in-
formation, likes to remember last sum-
mer at the Catalina Isthmus village.
Johnny had his boat over there and
averaged about three dates each day
with three different girls.
We asked the bartender at the Isth-
mus one night, "D'you think he'll marry
any of them?"
He laughed. "All in time, all in time,"
which sounded to us like
a crypticism.
In any case, Tarzan
won't do anything very
active for a while. He
has a cracked elbow.
The great swimmer
slipped and came a crop-
per in his own bathtub.
Cal'sThought of the Month
A critic has panned
Metro - Go Id wy n -
Mayer's picture, "Huck-
leberry Finn," starring
Mickey Rooney on the
assumption that the pro-
ceedings were more
Mickey than Huckle-
berry.
If this be true it's the
first time Cal has ever
seen a Mickey Finn in
pants.
PHOTOPLAY
Myrna Loy
IN METRO-GOLDWYN-MAYERS
"LUCKY NIGHT"
See it at your favorite theatre.
Hollywood's
Amazing, New
Lipstick
jl\ sensational creation by Max
Faaor* Hollywood, Tru-Color Lipstick is
the most exciting lip make-up discovery in
years. Just note these four amazing features:
1. lifelike red of your lips
2. non-drying, but indelible
3. safe for sensitive lips
4. eliminates lipstick line
Yes, indeed,Max Factor 's Tru-Color Lipstick
really has everything! Try it and you'll dis-
cover the perfect lip make-up. New alluring
color harmony shades. ..$i.oo. Note coupon
for special make-up test.
/ *H<
Powder... Rouge... c^ted
Created by Mix Factor, by Max Factor * Holly-
Hollywood, to look woodinlifelikecolors...
J*((w beautiful under every so that each shade is per-
hiX" "A^^r close-up test. Exception- feet in color harmony for
ally satin-smooth in tex- . each type. You'll marvel
ture, it clings better and howyourcolor harmony
stays on longer. Color shade will enhance your
harmony shades for natural beauty. Creamy-
. blonde.brunette.brown- smooth in texture, it
erteandredhead...$i.oo. blends easily... 50?.
I MAX FACTOR MAKEUP >TVDIO. HOLLYWOOD. CALIF l££^ii^fanT . Q "^j&Ol .
• S«i<)Punc-SutaoilrfPo»d«r.KatyS««iplBl«aM 1 ir -; -jl g»« °l ,a0„icTTE I •
J Upakk a at coat la -±-r \ -.- . ■ ** obi ■• • •• !.*' - U"~n - ,-■ - Da» c •
! v;r;:-j,(. .••;--.i:.:Hi.--.v..--.:C-.-r :.•■ 223 2""" SI MUNCTTt 1J
• lMmKW»Boot.Tfa\.»^rt^S»«5. FR£E. IjEST °| KST " ' oU«»< Q °*'* Dl •
1 : name &_jp^TDr4!
JUNE, 1939
69
POINTS OF
FIGURE GLAMOUR
1 Bust carried proudly high,
deftly separated.
2 Waist shaped inward to
intriguing slenderness.
3 Body smoothly curved but
free in its feminine grace.
4 Carriage confident, radiat-
ing the kind of poise that
only relaxation can yield.
^^only re
■ t'oreUPs new models
biff"
/ tSJoT
blue joulard I,
then I
n in holding the dia-
whtre it shout .
'ed to a Formfit and
■ I ! "I lies
as they are worn in Paris.
and Schiaparelli
has collaborated
with Formfit making
it possible for you
to achieve them with
PfllH-flRT GIRDL£I£R£
3 hiaparelli Look," exciting, to say the least, is assured by
the simple, easy wearing of a Formfit foundation. Schiaparelli's
basic ideas of Eashion-rightness . . . her clever little touches all
are woven into Formfit foundations so that YOl /' figure, like the
& hiaparelli's artistry, will be utterly charming! Sketched
above is Panel-Ai t. < ombining Lastex comfort with material control.
Panel-Art definitely persuades your figure in accord with Schia-
Ui's 4 points of figure glamour ... and with such complete
Comfort! GIRDLEIERES $7.50 TO S18.50 • GIRDLES $5.00 TO $12.50
Stif le-iitflit &iea.Uyni by
Toniifii"
Close Ups and Long Shots
(Continued jrom page 11)
i*tA{usied (up £cJtic^ia>ielli
MADE BY THE FORMFIT COMPANY • CHICAGO • NEW YORK
main i a bathtub and the less
doth* ways
true ot her works. . . .
APROPOS of Lamarr it is very funny
the way the Other girls arc going around
and whispering that the reason Metro
couldn't complete "I Take This Woman"
is that Hedy can't read lines . . . well,
the public read Hedy's lines in "Al-
giers" and was more than satisfied
... so just leave the acting up to Bette
Davis and give us some more of the
Hedy that "Algiers" showed and
we'll be quite content. . . .
That, in turn, makes us wonder what
they will give Bette Davis as the reward
tor her work in "Dark Victory" . . . since
they've given her two Oscars for her
work so far I guess they'll have to give
her the whole darned Academy this
time . . . she is that magnificent. . . .
I wonder if anybody but me, when
reading of Jackie Coogan and his trou-
bles, begins to feel sorry for Freddie
Bartholomew, too . . . not but that Fred-
die's money, such as there is of it left
since all his legal difficulties, is very
safe . . . but where is the boy heading?
. . . M-G-M now has Rooney as a first-
league boy star and the way they are
developing that youngster Terry Kil-
burn is something to watch, too . . .
elso isn't it typically Hollywood to be
staging a comeback at the age of eight,
as Sybil Jason is as the result of "The
Little Princess" . . . still I suppose all
actors of any age or sex relax a little
when they observe a man like Lewis
Stone getting the lead in "It Can't Hap-
pen Here" which ought to be a terrific
hit . . . Lewis Stone has simply worked
steadily for the past forty years . . .
he's saved his money, too, so thr.t he is
a very rich man . . . besides there are
actors like John Halliday, though not
many of them . . . Mr. Halliday after a
most successful career on the speaking
stage and a less important career in
movies . . . for reasons I'll tell you in
just a moment . . . has enough money
to live just as he wants to live . . . the
way he wants to live is in Hawaii on
a lazy, sunny plantation where he can
loaf and read ... so he does just that
. . . and when he feels his money is
petting just a little low ... he takes a
picture job . . . they are always being
offered him ... he can pick and choose
... he comes back every year or so
... as he did for "That Certain Age,"
you remember . . . picks up ten or fif-
teen thousand dollars which is Holly-
wood chicken feed . . . and then retires
to Hawaii until such time as that sum is
used up . . . that's why he hasn't pushed
his picture career more ... if he did,
he'd get into the higher salary brackets
and have less leisure . . . and leisure
is what he wants most . . . pleasant,
isn't it . . . and proves not all actors
are temperamental spendthrifts. . . .
WHILE you are still in there in the
running, however, it must scare the
daylights out of you, if you are a star,
to have another performer with a
similar type of appeal start climbing
up into the big spotlight . . . because,
going back to Gary Cooper again, if I
were Gary I'd worry about Henry Fonda
. . . particularly with "Young Mr. Lin-
coln" coming along . . . Gary would
have been marvelous in such a part . . .
but it's my hunch that Henry Fonda
will likewise be a marvelous young Lin-
coln . . . and it is getting to be much
too long since Gary has had a picture
that was worthy of him. . . .
The first time I ever met Henry Fon-
da I started right off liking him and for
this reason: he was under contract to
Walter Wanger then and Jimmy Stew-
art, still pretty unknown, was, as he
still is, under contract to M-G-M . . .
it was the morning after "Next Time
We Love"' had been previewed, how-
ever, and the whole town was talking
about Stewart ... so Henry Fonda
barged into Wanger's office, where I
was. and said to the producer, "You
see? If you had been smart you could
have had Stewart instead of me under
contract" . . . that's really the way
Hank feels about Jimmy, too . . . thinks
he's the greatest actor in the world and
ten times better than Fonda . . . but I
don't agree . . . Jimmy Stewart is a
great one-performance actor ... as a
frustrated lad a la his "Made for Each
Other" he does remarkably . . . but he's
always too much that one part . . . Hank
Fonda isn't ... to me he is real star
stuff of the young Will Rogers type. . . .
All of which adds to up to the fact,
that movies and movie-making are a
nerve-racking, exciting, satisfactory and
terrible business and that the longer
you study it the less you know about it
. . . and that the world can't become
a really bad place as long as there is
a new Deanna Durbin picture to look
forward to . . . and where that most
romantic of all Hollywood couples,
Carole Lombard and Clark Gable, are
at last able to get married. . . .
Time hung heavy on Reginald Gardiner's hands when
H3dy Lamarr became Mrs. Gene Markey — but not for
long! Here he is with Constance Worth at Cafe Marcel
70
PHOTOPLAY
A House to Live In !
(Continued jronx page 32)
honest-to-goodness home, built to be
used for rest and play, dining and read-
ing, entertaining on a small scale, out-
door life on a large scale. A remodeled
country house, built about 1916, of
which when you see it you don't say:
"Imagine being able to have that
house!" You say: "Me, too — some day."
It is our pick of the "Me, too" houses of
Hollywood.
It is of the familiar ranch-house style,
designed for living all on one floor, but
the second-story addition was completed
recently to make room for the second
son, Denny, born to the Devines last
January. Mrs. Devine, who was born on
a ranch, like Andy, says they will keep
on adding rooms on top of their house
for every child they have. That's the
kind of house it is. As a matter of fact, a
second dormer to the right of the first
will serve only to improve the "balance"
of the architecture, if the Devines have
a third child some day. L. G. Scherer,
Hollywood architect in charge of the
remodeling, has arranged these dormers
protruding from the sloping roof so the
addition takes little or nothing away
from the low-to-the-ground appearance
of the house, which is one of the chief
assets of this type of architecture.
Actually, this style house can find a
harmonious background on any level
lot, provided the lot is wide enough to
allow for the sweep of the front walls,
which measure 120 feet wide. The house
is fifty-four feet deep. Such a house
should be placed on a lot measuring at
least 130 by 100 feet. The family's liv-
ing quarters are all to the right of the
porte-cochere, useful in rainy weather,
(yes, even in California!) and the
maid's room and the garage are to the
left.
The outside of the house is unsurfaced
redwood siding, placed vertically on the
front and back facades and horizontally
on the sides, for interesting variation.
The house is dead white and the roof is
of cedar shingles, painted rust red.
IT is the interior plan which impresses
you most with its livability, however.
You enter by walking up the brick-sur-
faced loggia, past the large bay window
of the living room, into a small entry,
with a guest closet to the right. The
living room itself is of pretty good size
— fourteen by twenty-one feet and six
inches — but the impression of space is
created by the way in which this room
opens into the dining room at the left
and the card room at the right. This ef-
fect has been intensified by the same
vertical knotty pine paneling in all
three rooms, with a special hand-woven
rag rug made to run through dining
room, living room and card room. The
thin coat of white paint used on the
paneling, so the knots in the pine show
through, the rough-textured stone fire-
place, a few well -chosen sporting prints
and water colors on the walls, all help
keep up the informal atmosphere.
The card room, so-called because it is
a convenient place for a game of
bridge, is actually the only guest room
in the Devine house, unless you count
the trailer, which is parked behind the
garage and in which Tad, the older
son, takes his afternoon naps. There
is a pull-out double day bed in the
card room which folds neatly back to
make a divan when there are no guests.
Note the farmhouse-y effect of the
small-patterned wallpaper on the ceil-
ing, a nice way to introduce pattern
into a room with all wood walls.
The master bedroom, at the extreme
right end of the house, is a beautiful
combination of rusticity and modern
convenience. Partly paneled in white-
painted knotty pine, partly in wallpaper
with a blue background, it has a series
of built-on shelves at either side of
the windows and at the head of the bed.
There is nothing complicated or costly
about these shelves, though the car-
pentry work has been done to make
them perfect matches for the wood trim
of the room. That shelf-cabinet-book-
case arrangement at the head of the bed
makes it possible to turn lights on and
off, answer telephones, regulate the air-
conditioning system and listen to the
radio, without stirring from bed. Notice
the strips of wood which run horizon-
tally under the windows to carry out
the pattern of the shelves above. A tiny
detail, but it adds much to the charm of
the room.
BEHIND the dining room and part of
the living room lies the kitchen, one of
the most interesting rooms in the house,
because it too has felt the touch of liv-
ability. The Devines live a great deal
in their kitchen. They discovered that,
whenever they had guests, which is
often, the girls had a tendency to con-
gregate in the kitchen to talk while they
got "snacks" from the icebox, hence, the
round table and built-in semicircular
padded seat in one corner. The Devines
call this "the Brown Derby corner." It
is handy to the icebox, right across from
the stove, and just a step through the
door to the utility side of the "bar,"
which is shown in the living-room pic-
ture as a pine-doored cabinet to the
right of the fireplace. Through this bar
opening, refreshments can be served
into the living room without the cook
or the butler leaving the kitchen. The
bar is a modern innovation, made to look
right in this setting.
Back of the kitchen, at the foot of
the stairs leading up to the second-floor
nursery, is Tad's bedroom, large enough
for sleeping and playing and to accom-
modate his nurse's cot. The bay win-
dow looking out over the acres of Ando
Ranch — which is really a ranch, with
horses, cows, chickens, even a tobacco
patch — lets in a great amount of light.
By reason of the staircase placed at the
back of the house, the two children's
rooms are entirely apart from the rest
of the house, so that the nurse can go
from one room to the other without dis-
turbing the family and their guests.
The nursery, although the newest part
of the house, is in keeping with the rest,
with white-painted pine paneling and
wallpapered ceiling, done in white, yel-
low and blue and having cross ventila-
tion, ample closet room (for storing
children's bulky equipment) and its
own private bath.
The whole house could be built, new,
today for $15,500, exclusive of the cost
of land, according to Mr. Scherer. This
includes a twelve by twenty foot base-
ment to house a gas-fired, forced-air
heating unit and water heater, with
adequate storage space besides; insula-
tion of double layers of metal foil in the
roof, and the five bathrooms which, in
most families, could be cut down to
three, without much loss of convenience
and at a saving of about $600. The price
also includes the garage, but not the
stables, groom's quarters, tack room,
poultry equipment and other "extras"
which Andy has and which would not
be part of the average family's scheme
of living, anyway.
In fact, it is just the kind of house you
and I might copy, despite its eminence
as a "show place" of Hollywood.
<lUcz(fA& guard against
body odor with this
lovely perfumed soap!
JUNE, 1939
71
We Cover the Studios
/£
\
I didn't know he was a
Grand Duke — I just knew
he was looking wistfully at
that fresh package of Bee-
man's in my hand. "Have
some?" I offered. "With
pleasure!" he answered —
and bowed as if I were
royalty!
"This refreshing Beeman's
flavor," he confided, " — it
has that delicious American
pep! Never can I resist its
tempting tang! A thousand
thanks for this so luscious
treat! You are — how
shall I say it? — one
grand friend!"
S2
iiu-ns them out on .1 few techi
chuckle* the doctoi
■ litt ■ m a minute
i Lew A hii hand
■ ■
tep m end patch him up!
But you won't eee thai In the Bi I bed
film DO in ll
M-G-M's pride and joy and two time
winner. Spent •
from ;i itrange sound stage this month —
h Century-Fox where Spence is
on loan making "Stanley and Lhring-
which was front page news for
weeks and weeks when grandpa was
young.
TC-F really started shooting this pic-
ture a year and a half ago when an
ntion, headed by pretty Osa John-
son, followed Stanley's exact i
through darkest Africa and shot 100.000
i film, against which most of the
Hollywood end of the picture is being
filmed.
Hollywood has doctored up the Stan-
lex -Livingstone saga slightly. But out-
side of a romance between Nancy Kelly,
a British consul's daughter, and Richard
Greene, a reporter, the spectacular res-
cue expedition for missionary Dr. Liv-
ingstone by newspaperman Stanley
forms the meat of the script.
Spencer Tracy is a strange apparition
with a full gray beard and white hair.
He wears heavy jungle boots, a pith
helmet and duck trousers that once were
white. Cedric Hardwicke, playing Liv-
ingstone, is even more dirty and mussed
up. It's the scene where they meet —
one of the most famous scenes of the
Nineteenth Century. "Roll 'em! Cam-
era! Action!" — and Hollywood re-
creates it:
"Dr. Livingstone, I presume?" —
II EXT door we find Warner Baxter in
the midst of a return bout with the col-
orful character that made him a big
star "The Return of the Cisco Kid,"
ten years after "In Old Arizona," is
the biggest tribute his studio can pay
Warner for hanging on to his youth.
O. Henry might whirl in his grave at
what they've done to the story plot of
his Cisco Kid, but it sounds sure-fire
i to us. A boy loves a girl. So does the
Kid. He plots the boy's death in a frame-
up, then his big heart softens and he
rides recklessly over desert and cactus
to save him. We can see that chase
now — on the screen, that is. This set
is the patio of a Mexican inn. Cesar
Romero, a killer-diller, in the most
hideously greasy make-up we've ever
seen, long black hair and a huge wart
by his nose, is whooping it up with
Warner. Mescal fizzes or possibly tequi-
la slings do the trick aided by an ener-
getic guitar ensemble.
The script calls for all this debauchery
to be broken up by a pistol shot.
"Now, boys," says Director Herbert
Leeds, "we won't use the shot. We'll
dub it in later. Canu
Cesar and Warner l;o into their rois-
tering and in the middle — "Ba-Iooojii.'" —
right behind their table a gun goes off
like the crack of doom. Warner and
ich the ceiling.
"Sorry to double-cross you, boys," the
director apologizes. "But the only way
to get a good fright reaction on any-
body' 'ally to scare 'em!" Yeah
— but toe aren't acting in this picture!
Back from the suburbs we crash
RKO-Radio in the heart of Hollywood
and find Ginger Rogers doing a solo in
"Little Mother," with David Niven in
ilinucd front page 61)
.lie's usual corner, without, of
course, the taps.
have to admire Ginger. She's one
trho has luked the type-casting
bugbear. She can sing and dance for
our money until the cows sneak in at
eventide. She can also act.
"Little Mother" is the songless and
danceleaa brand, a straight comedy-
romance. Ginger plays a shopgirl who
finds a baby on her doorstep one day.
The stole thinks she's a bad girl and
fires her. Then the store owner's son
tumbles for Ginger and his papa gets
the idea the infant is really his bar
sinister grandson.
Ginger and David Niven are on the
et when we approach. David's in
mufti for a change. Garson Kanin, the
twenty-six-year-old new Hollywood
wonder boy, directs them.
We watch until the scene — Ginger's
first date with David — finally gets the
director's okay, then we take a quick
trip out to Selznick-International to
check up on what goes on with "Gone
with the Wind."
We catch a scene in the Wilkes man-
sion, where Scarlett meets Rhett for the
first time and Ashley breaks the sad
news that his true love is JVfelanie. Re-
member?
Leslie Howard, in a fawn-colored coat
and stock, is courtly, Olivia de Havilland
in a poke bonnet is demure and Vivien
Leigh in a green sprigged muslin hoop
dress and wide green -trimmed hat is
simply devastating.
To describe the exquisite costumes
Selznick has supplied for even the
"Wind" extras is impossible. The color
of this one scene and the perfection of
its detail is a work of wardrobe art.
Every Technicolor camera-take is a
screen painting and every one is shot
as carefully as an artist wields his
brush. Maybe "Gone with the Wind"
won't be ready for release until next
Christmas, as the rumors say, but when
it is — there'll be something to see.
DACK at Paramount we find the "Beau
Geste" company returned to the lot
after eight weeks of trials and tribula-
tions on the bleak sand dunes of Yuma,
Arizona. "Beau Geste," a little two-
million-dollar quickie Paramount is
turning out, is of course a remake. Rea-
son— the old version netted a fortune
in its day. It was a swell picture be-
sides, if you'll remember.
"Beau Geste," 1939 edition, launched
the greatest location trip in modern
Hollywood history. Paramount set up a
tent city on the windy dunes, nineteen
miles from Yuma. Eight hundred men,
a thousand horses and thirty-five camels
milled around among the Fattlesnakes,
scorpions and centipedes and the howl-
ing sandstorms for two whole months,
minus modern conveniences.
When we find Gary Cooper, Bob Pres-
ton and Susan Hayward (a cute little
redhead who figures to go places in this
one), they're all safely back on a sand-
less sound stage, dressed up in evening
clothes. But all of them are still cough-
ing their heads off from Yuma acquired
"sand colds." Breathing sand does it.
This set gives us some of the oddest
news we've had in months. We had
noticed on the call sheet outside the
stage door this unusual legend, "One
mouse," and below, "One mouse's stand-
in." Believe it or not, the cheese-eater
has a mechanical stand-in running
around the floor, while the flesh and
blood mousie is being held in tow by
a horsehair harness. You can't see that
on the screen and it keeps the Mickey
from ducking into a convenient hole
from false modesty.
We head next for "The Magnifi-
cent Fraud." This picture is about a
French actor, Akim Tamiroff, who plays
the part of a Latin-American dictator
when said ruler shuffles off unexpected-
ly to upset the plans of Lloyd Nolan,
who is about to put over a ten-million-
dollar loan.
A great many other characters are
involved. Ralph Forbes, Mary Boland
and Patricia Morison are among the
most important.
A word here about this Morison girl:
she's due for a star build-up at Para-
mount because of her neat acting in
"Persons in Hiding." She's smallish,
with long black hair and blue eyes. She
got off to a good acting start as Helen
Hayes' understudy in "Victoria Regina."
Paramount has just bought Phyllis Bot-
tome's "Danger Signal" especially for
Pat — so don't forget the name.
NEITHER Samuel Goldwyn nor Hal
Roach has anything on the fire this
month. Walter Wanger is still frozen
solid on the story for his "Winter Car-
nival." So our next stop is out in the
San Fernando Valley at Warners' where
Bette Davis is just starting "The Old
Maid."
Here we see movie-making at its
highest peak, with its greatest actress,
Bette Davis, embarking on another al-
most certain dramatic triumph.
"The Old Maid" is tried and true
dramatic material — and that, we'd say,
is absolutely all Bette Davis needs. Zoe
Akins wrote the play from Edith Whar-
ton's story. Helen Menken and Judith
Anderson made it a hit on Broadway.
Briefly, it's the story of a woman
forced by the circumstances of her life
and loves to watch her own daughter
grow up without ever letting her know
she's her mother. The end is tragic.
Jane Bryan is the daughter. Miriam
Hopkins plays Bette's cousin, whose life
is woven closely about hers. George
Brent is a wastrel lover.
Both Bette and Miriam, two of the
palest bona fide blondes in Hollywood,
are decked out in flouncing hoop skirts,
poke bonnets, ribbons and laces, for the
period is 1861, the setting, Philadelphia.
The scene we watch is inside an old-
fashioned lingerie shop set; they're buy-
ing Miriam's trousseau. Edmund Gould-
ing, Bette's favorite director, perches
behind the camera on a stool, cool and
dignified.
He directs quietly, reasons and ca-
joles with Bette. We think we have
discovered at least part of the secret
of Bette Davis' greatness. To wit, Mr.
Goulding.
The sun is just beginning to set when
we drop by Universal to call on "The
Sun Never Sets." The whole company,
Basil Rathbone, Douglas Fairbanks, Jr.,
Barbara O'Neil and buxom Virginia
Field are busy at that world-wide
British afternoon rite — tea.
"The Sun Never Sets" is British flag-
waving, pure and simple. A long line
of British consular career men meets
rebellion in younger son Doug. He will
have none of the white-tie-chin-up-
carry-on stuff. That is, he won't at first.
But after being exposed to the pomp
and circumstance of India, South Africa,
and scattered outposts of Empire. Doug
comes through for dear old England.
It's already on the tag end of Holly-
wood's working day and we're ready to
call quits for another month.
n
PHOTOPLAY
The Unconventional Side of Hollywood
(Continued from page 15)
are wondering whether or not that man
can play Nicky Amstein?"
There is another director in Holly-
wood, also a great favorite of mine, who
happens to represent the unconven-
tional side of the city of annuities and
irrevocable trust funds. It goes with-
out saying that I mean Edmund Gould-
ing. who is now being praised from
coast to coast for the truly magnificent
job he has done directing "Dark Vic-
tory" Not only did he bring out the
very, very best in Rette Davis. George
Brent, Geraldine Fitzgerald and Hum-
phrey Bogart but he succeeded in re-
maining the selfsame Eddie Goulding.
a dreamy Irishman and a man with a
thousand talents, whom I have known
for over a quarter of a century -
A gentleman of the ensemble, a song
writer, an actor, a playwright, an asso-
ciate producer and a director, Eddie
Goulding knows everything there is to
be known about the stage and screen.
Sometime I wonder why he bothers to
hire any actors and actresses at all
when he can play all the parts himself.
He doesn't talk as loud as Ratoff but he
can hold his own in any company. After
all these years, he is still an eccentric
showman and not a calculating banker.
He rides around in a car that would
never make me imagine that a Vander-
bilt is visiting Hollywood, as I thought
when I first beheld Cedric Gibbons, the
husband of Dolores Del Rio, drive past
me in a breath-taking, maroon limou-
sine. Eddie goes to the studio wearing
what looks to me like a pair of loung-
ing pajamas and a dressing gown and,
the greatest miracle of all. he is not
overawed by his own success.
Not any more than his favorite star.
Bette Davis. During the filming of
"Dark Victory"- she saw only a few
rushes. All the Warner Brothers'
horses and Warner Brothers' men could
not drag her to attend the preview and
even the cajoling genius of Eddie
Goulding failed to persuade her to walk
into a projection room where "Dark
Victory" was being run for a few guests.
She does not think that "Dark Victory"
is great only because of herself — and
that fact ought to endear her to another
unconventional friend of mine, Samuel
Goldwyn, who recently made an almost
historical speech before the members of
the cast of "Wuthering Heig:
"You must realize." said Sam. "that
this is a very special picture. No one
in particular can claim full credit for it.
It's not a Merle Oberon picture, it's not
a Laurence Olivier picture, it's not any-
one else's picture — it's just a Samuel
Goldwyn picture."
I HE mention of Laurence Olivier's
name brings to my mind the name of
that, by now, famous compatriot of his,
Vivien Leigh, who, believe it or not, did
no more to get the part of Scarlett than
a woman in the moon. Much as it may
enrage the Hollywood wiseacres, she
actually came to Hollywood on a vaca-
tion. Like everyone else, she was sure
that it was in the bag for Paulette God-
dard, but she counted without George
Cukor who. while no longer directing
"Gone with the Wind." is entirely re-
sponsible for the present glory of Vivien
Leigh. George is a fine director, one
of the finest there is, but George's idea
of acting is not that of Charlie Chaplin.
And he could not help but feel, while
rehearsing Goddard in several of the
scenes, the fine hand of Charlie. His
parting words to Paulette Goddard
were: 'Thanks so much and, oh yes,
will you tell Charlie that he did quite a
clever bit of directing in that last
scene?"
But to return to my unconventional
people. There is Nunnally Johnson, the
associate producer, on the Twentieth
Century lot, a most efficient and bril-
liant man, according to all who know
him in Hollywood, but a Great Ameri-
can Legend, according to his friends
back East. It was he who said to a
lady when asked whether or not all the
inhabitants of his home town (he comes
from Georgia) resemble the characters
in 'Tobacco Road":
"Oh. no. Madam, the Tobacco Road
people are considered the country club
set where I come from. . .
It was likewise he who. while de-
scribing a writer whom Johnson con-
siders to be the "world's worst" ex-
claimed:
'That fellow is so bad that he oughtn't
be permitted to use the language at
all. . .
"Suppose he gets hungry, Nunnally,
what then?"
"Oh. let the blankety-blank stand
still and wave flags."
The newest Nunnallyjohnsonism —
they collect Nunnallyjohnsonisms in
Hollywood and keep them under lock
and key — has to do with his recent va-
cation. Mr. Johnson claims that one
night, while returning to his hotel from
a gay party, he overheard the manager
of the hotel pray. The prayer went as
follows:
"God. please take Nunnally Johnson
and send back the American Le-
gion. .
I HESITATE to describe Charlie Chap-
lin, a stickler on etiquette and a perfect
host, as an "unconventional person" and
yet . . . What would you call him if
you had heard him — as I did — describe
the story of his forthcoming "The Dic-
tator,"' a picture in which he plays two
parts: that of a Jewish barber and that
of Der Fuehrer. Said Charlie, as if an-
ticipating an argument:
"Why shouldn't I impersonate Hitler?
After all, don't forget, that the son -of -
a-gun stole my mustache . . . Look at
his photographs taken during the war
when he was still a mere corporal. He
was wearing then a typical German
mustache . . . That was in 1918 when I
was already making dozens of pictures
... So who is impersonating whom?"
A genius is always unconventional.
That is why I cannot finish this article
without mentioning Darryl Zanuck's
name. God knows, there is nothing
mad or eccentric about making money,
hand over fist, for one's stockholders
and turning out one hit after another
but, if conventionality is just a pen
name of mediocrity, then Zanuck is the
most unconventional man of all. In the
weeks and months to come you will
hear plenty about him. Wait till you
see "Rose of Washington Square" and
"Stanley and Livingstone.''
Re-reading what I have written so
far I discover that I have not mentioned
Hedy Lamarr yet. This surprises me as
much as it will surprise the readers of
this magazine. Just imagine anyone
writing about the Hollywood of today
without mentioning Hedy's name at
least once. What is the matter with me.
I wonder? Could it be that I think of
her nowadays as Mrs. Gene Markey and
that hearing everyone say. "Markey
married the prettiest girl in Hollywood,"
I naturally conclude that they are talk-
ing about Joan Bennett? For to me,
Joan was, is and will always be "the
prettiest girl in Hollywood."
... a sparkling half-skirt
fashion tailored in gorgeous
i a- Lure" fabric, $7 "
Other Jantzen creations at
0 They're new, startlingly new. these lovelv Glamour Fabrics
that have been created this year by Jantzen. There is the
gorgeous Velva-Lure, soft, light and velvet). S<uin-Kn.
radiant new texture, rich and lustrous. For vibrant color and
gaiety see Jantzens exclusive Knit-in Prints. They are a perfect
revelation in flowered richness and beauty. A iJelight to
— a delight to feel — a detight to behold. All contain Lastex ram
for the correct amount of two-way strrt< h and I plift
that molds and holds the b ithful lit
Jantzen Knitting Mills, Portland, Oregon: \
Jjaiifzefi
If CL1M0UI SHIM SUITS
JANTZEN UUillMb MILLS, I>pt. 261. PortUnd. Onpa.
SctJ me tjit ioUet m colon, fcmariag mrm 19» mn Mi Tcki'i Q «(•'• Q
JUNE. 1939
73
c^\*
?s&r
iu^l
\
Ullllil^ 1 < ' W..J* K .11
II!
•
;, i't i: Uj ,: l n
Since 1848 Sold the World Over
Arcadia
Mo##rfiif tic, vtllow
$1500
*• 1
HARUQUIN
17 Jeweh, yellow, curved
$29.75
VANITY FAIR
Graceful, yellow
L--«^*5
SWANEE
Simply graceful, yellow
$19.75
~ll I
BARBIZON
Attractive, yellow
$18.75
OSTEND
17 jewels, yellow
$24.75
SERVICE
Luminous sweep dial
$19.75
GERTRUDE
17 jewels, yellow
$23.50
ELMHURST
Classic, yellow
$13.75
HOBART
Collegiate, yellow
COYNE
17 jewels, yellow
TYCOON
Modern, yellow
^
<£&
$
Set New Standards of
Smartness and Value
LlME MARCHBS On" in beautiful streamlined designs that
enable \l\in to reach new heights of smart styling. Alvin is
an inspiring gift for the graduate . . . one that reflects the wise
judgment of the giver. This famous watch represents crafts-
manship and quality guaranteed by nearly a century of fine
watchmaking. There's an Alvin for every taste and every
purse . . . each model a masterpiece of design with depend-
ability that sets a standard of excellence accepted the world
Over. Akins are quality watches through and through . . .
carefully made for a long period of thrilling satisfaction. Go to
tlu nearest \1\ in dealer and ask to see these amazing World's
Pair Models. I, earn about the extremely high watch values
«i that you can obtain for comparatively modest prices.
4LV ' . Al.\ IN R \ Kit COMPANY. SYRACUSE, NEW YORK
producer. Others arrive more quietly
;md are forced into seclusion until they
■re ready to burst upon the American
■i They seek one another's com-
pany for understanding and comfort.
i.iil. eventually, and return home
— Simone Simon, for example, the girl
with the double-barrelled name and the
.cting pout, and Anna Sten, who
tried to make a comeback. Others suc-
ceed . . . Hedy Lamarr, whose name is
now synonymous with glamour. Until
Miss Lamarr made "Algiers" and found
If acclaimed, she must have often
been lonely. But Hedy has taken out
Miice. She has fallen in love and
has married.
I HE starlets have their lonely mo-
ments. The kids who have come up
from the ranks, or who have won
beauty contests and have reached their
mecca of Hollywood and a screen test.
Some keep on and grow more promising
with each picture. Some appear briefly
and one never hears of them again. How
many have failed and unwilling to go
home, to face that let down feeling, to
brave the curiosity of the home town
and their friends, have stayed on, get-
ting some sort — any sort — of work that
will keep them in Hollywood.
Then there are the long-distance
marriages, the marriages which were
undertaken in the glow of youth and
hope and which could be happy given
the chance; which are perhaps happy
I still but which must struggle to survive
the disintegrating effect of mileage and
of diverse careers. Rumor attacks these
poor people if they go to a party with
escorts other than their husbands ... or
with women other than their wives . . .
But if they stay at home, they prob-
ably are bored with themselves and
their surroundings — they are used, after
all, to attention and excitement.
Garbo's famous "I want to be alone"
has become almost an American classic,
a gag. How true is it, I wonder?
She came here a healthy, talented,
bewildered girl, because the great di-
rector Stiller wouldn't come without
her. She made a hit and, at first she
was far from alone. She posed for all
the usual stills, the publicity shots, and
willingly. It is said that she vowed
that if a success she would never do it
again. That may be conversation. It
is possible that she is a real introvert
and that she shrinks from crowds and a
great many trivial people. It is also
possible that she has acquired this, that
she was not born that way at all, but
that Hollywood and her early years
there have conditioned her. I am not
guessing, I wouldn't know the answer.
But although Garbo has friends, close
friends, if not many of them, there must
be times when she does not want to be
alone. But either she has become so
conditioned to her particular fate that
she believes in it or else she does not
know how to break through the barriers
which she herself, and the studio, have
built around her. Perhaps having be-
come a legend, she believes in that, too
. . . But there must be moments when
she is bored beyond words, when she
would like to be young and gay and
perhaps the center of a circle of inter-
esting and interested people. As I said
before, I wouldn't know. But she's
lonely. I think.
Scandal, rumor — false or true — has
caused much unhappiness in Hollywood,
much withdrawing into self, much lone-
liness concealed or revealed. Loss of
love by death or misunderstanding has
caused loneliness. For these people,
stripped of their glamour and names,
glow and publicity are, after all, just
people. Like anyone else, they are
mortal, fallible, prone to unrest and er-
ror, to unhappiness and uncertainty.
Even the heartiest extroverts can't be
on top of the wave all the time.
Then there are those in Hollywood
who, by their very natures, are unable
to join in the general crazy rush after
excitement and time killers. I have
always thought of Ronald Colman as a
lonely man, despite his close and loyal
friends. But I imagine since his mar-
riage the picture has changed.
Joan Crawford ... a less lonely figure
you couldn't imagine. Or could you?
. . . spectacular marriages, never en-
during, the incessant struggle to climb
still higher the ladder to success, and
now rumor busy linking her name with
someone else. Yet lonely she has been,
I fancy, all her life. For that is the
"joker" in the game of success.
If you must have fame, if you must
reveal your special gift to the world, if
you want what the world can give you
by way of reward, then you have to
pay for it. The screen stars pay in the
continual publicity. Without this they
would soon cease to exist. When it pur-
sues them into their private lives and
pries at their private emotions they turn
on it, with anger and anguish. But
they can do very little about it.
There is a good deal for the run-of-
the-mill person to learn from these peo-
ple whose lives are one tremendous
struggle ... a tug of war you might
say ... a struggle on one hand for
success and its attendant discontents,
and on the other for personal privacy
... a struggle against boredom, against
growing sated and stale, against lone-
liness. Yet a few of the stars in Holly-
wood have come near a solution —
which is. I think, to take what comes,
to make the best of it, with a sense of
gratitude, a sense of and a complete
realization of values and, on the other
hand, to live as fully and naturally as
possible within the limitations placed
upon them.
I HERE is no cure for loneliness. There
is no certain preventative. But the
lucky, the sane, the visionary among
the stars have learned that faith, funda-
mental belief in themselves, in human
nature, in the panacea of hard work, in
the loyalty of a few, can serve to al-
leviate the common lot of human be-
ings. These have learned how fickle is
the public which makes and, if it wishes,
breaks them, how futile in the last
analysis the hurry and ceaseless striv-
ing . . . these have somehow managed
to insure themselves against boredom
by lasting interests and against heart-
break by a belief in enduring love. It
may fail them, but they will have
courage to go on.
These are the lucky ones whose in-
surance against loneliness continues to
give them protection. One star I know
has a passionate interest in modern art
and there is no place now in his life for
loneliness. An increasing number of
others are insuring themselves by bear-
ing children, or adopting them. Every
year the demand for orphans increases
and the Cradle, that famous foundling
home in Illinois, fills more and more
Hollywood orders. Still others have
moved out of Hollywood and have
created real homes in the country,
ranches where the closeness to nature
fills the void in their lives.
Loneliness touches every man but
those who have faith go on.
PHOTOPLAY
ALVIN WATCHES
From Ranch to Riches
(Continued from page 16)
promoted Annie to first place in the
photographer's esteem. She is some-
thing an angel dreamed up for them —
the glamour girl epitomized: immense
eyes of deep photogenic hazel, mobs of
red-gold hair that simply can't be au-
thentic but is, fabulous fingernails and
eyelashes out to there, incredible legs
and skin . . . No wonder they go mad
every time she appears in the gallery
for a sitting.
The corridor through the Warners
publicity department is always lined
with new pictures of their various play-
ers. As a rule, the press boys walk
straight through, eyes forward. Look-
ing at pictures is too much like what
they get paid for. But the other day,
a sitting of Annie went up — and now
you have to blast your way through
that corridor. The old hard-boiled
press, sold to a bunch of "leg art'' —
after all these years. But xchat leg art!
On the other hand. Annie has a lot
more than the high visibility with which
Nature so lavishly endowed her. As
proof, the other day I asked Bette Davis:
"Who, in your opinion, is the most tal-
ented and promising young personality
on your lot?" Without a pause. Bette
answered: "Ann Sheridan!" And Bette
isn't handing out ill-considered opin-
ions. Annie nearly swooned with joy
when she heard that. Bette is the bright
shining idol in her life.
AnNIE has just finished "Dodge City,"
with Errol Flynn. a story of the good old
pioneering days of 1872. Our Annie is
a good ole pioneer woman — can't you
just see her in a sunbonnet and a tight
bodice up to her chin? Well, you never
will — not this trip, anyway. She went
for a costume fitting, and we found that
out. Annie does her pioneering in a
dance hall, wearing those costumes that
always look as if the gal had started to
undress from the top down and just
then the telephone rang. The astute
Brothers Warner, having uncovered the
facts concerning Annie's shoulders and
— uh — extremities, are not going to be-
gin concealing their assets now. The
fact that she can act the house down
doesn't bother them any, too. Big plans
are on the way.
With Joan Blondell. Kay Francis and
Anita Louise all departed from the stu-
dio, it looks as if Annie will have a busy
year.
Annie says anyway she has worked
up to the "slapping stage" of her career,
and hopes it is over. "In 'Anj.'i I
slapped Cagney. In 'Naughty But Nice."
Dick Powell and I trade slaps. I nearly
break Powell's jaw when we get going!
There isn't any slapping, so far as I
know, in the next one; entering a more
dignified phase, you see . . Just so I
don't have to play misunderstood wives
next, that's all I ask," Annie says.
She is much more intense about her
work than she used to be. but she still
manages to keep the intensity well un-
der cover from the average observer.
She would rather kid about it. But
when she goes into a scene, she is sur-
prisingly workmanlike and conscien-
tious.
A girl can't have her mind on her
work all the time — it wouldn't be nor-
mal— not when she loves to dance as
much as Annie does.
nS for men — "Men are wonderful things
— I like men very much. In numbers.
Not concentrating on any particular one
right now. Playing the field." (The
field is thrilled, judging by the tele-
phone calls that came in all the after-
noon. Annie was indifferent, but — well,
you know. Not too indifferent.)
"Marriage? . . . My goodness, I just
got out of one. Why get in another?
. . . But I'm not off marriage. Not a
bit. It's a grand old custom — one that's
here to stay, I'll bet. I hope to marry
again some day, some time, and have
fourteen children. Uh huh, fourteen.
A nice round number, don't you think?
. . . Right now, you see I'm concentrat-
ing on my career. Excuse me a min-
ute. . . ."
The telephone was ringing again.
Annie said yes. she would love to go
dancing at La Conga tomorrow night
. . . But I know very well she was con-
centrating on her career all the time,
because she plainly said she would have
to be home before midnight!
And for Annie, the one who used to
close up all the night clubs and wear
out three pairs of dancing partners a
week, this is revolutionary. It is almost
exactly the same thing as not going out
at all.
KINGS AND BROTHERS
• The life story of George VI and Edward VIII, told by
the world's master biographer, EMIL LUDWIG.
Here for the first time, the amazing human drama behind
the English throne is told in full with sympathy and knowl-
edge. These brothers held the sceptre of the world's
greatest empire. They wore the richest crown in history.
George VI and Edward VIII are not merely the symbol of
royalty, they are human beings, sons of the same mother,
attached by the ties of blood and memories. They are
figures in a great play that Shakespeare would have written
had he lived in our times.
No other modern biographer has ever equalled the dra-
matic skill of Emil Ludwig. When his story appears, the
pages of that dramatic magazine will become a stage
lighted with the glow of history. You will live through the
drama as if you were a part of it. Watch for this begin-
ning in the May 20th issue of
LIBERTY
On Sale May 1 0th
JUST think of it ... a complete *Rogers Silverplate
Set for eight people... made and guaranteed
by Oneida Ltd. Silversmiths, in tarnish-proof
wood chest ($3.50 value) ... all for the un-
believably low price of $19.95.
See the beautiful patterns, compare the lus-
trous quality finish, feel the extra weight, try
to bend the super-strong handles and tines.
You'll say it's worth twice the price. Buy your
$19.95 sets now, for Mother's Day, Spring
Anniversaries and June Weddings.
GUARANTEED FOR LONG WEAR
Every piece of this "Rogers Silverplate is
stamped Oneida Ltd. That trusted Oneida
name guarantees years of extra service. Be-
cause the wear point is overlaid with solid
silver. Because Oneida's special Balanced
Plating gives uniform protection. Because
Oneida's scientific annealing insures extra-
COMPLETE
*IP
strong handles and fork-tines. Secure your
$19.95 Oneida -Rogers Service now, on
budget terms, while limited quantities last.
To acquaint you with Oneida-Rogers
quality, your local silverware dealers now
offer an exquisite, full-size service piece
... $1 .00 value ... for only 25<. Ideal for
prizes, party presents and other occasions!
Get yours before dealers are sold out.
•Thr Oaatda I Id. Urn • \m «.hi<-i, ihr~-
offer- «ppl» bear thr Tr»«Ie-Mark.« . . .
1881 Q Rlll.l R- jj
Win. \. HlM.l H~
Simeon L. A George 11. Roger* Company.
JUNE, 1939
75
You'll like my Brand
and I dude mean You!
Lewis Stone Is Really Judge Hardy
(Continued from page 'Hi
1 1
■ 111 tll.lt
tclusivelj
r'«>r thorul
Double- Mellow
■ II . . .
Id- that
V.
\\ itli liner
dded flavor.
\wA < » I
Doublj protected
bot weather
II<J
\\ el weatl
I dampness . . .
I louble wrapped to
-h
Their i
Sn if you want
cr.il the
Extra delights
Of a truly
Fresh i
Tin- brand that
Holds it- Friends
I
HUM l!>\ |
JTOl ii i n i \n-:
Send 10* and 2 Old Gold wrap-
r ■ beaut iful 4-< olor
reproduction « > t i lu~ picture ol
"Belt) Petty," without adrer-
luitable for framing.
01 DGOI I". I l9Weat
linli St., New ^ "ik Cu\.
Finer, FRESHER Flavor, Smoke Double-Mellow ()I<1 <;<>l.l-
ON THE AIR . \KTII SH \\\S 0
the Judge
Aiul 1 ;im fifty-nine, going on
sixty. I think that ncitl
much attention to U
called 'growing old.' I know that I
don't.
1 feel as I felt a quarter of a century
I eat anything and everything as
I have always done. I shave in;
morning. I still," laughed Mr.
Certain military pride in
my clothes, my carriage, brimneas and
smartness. It still matters to me what
tie I wear. The Judge, likewise, is not
unmindful of his appearance."
It occurred to me, as I listened to Mr.
Stone, that not only does Mr. Stone's
own background explain Mr. Stone but
also that Judge Hardy, too, might easily
have stemmed from the line of sturdy,
straight-spined Scotch Presbyterians
which is Lewis Stone's ancestry.
Mr. Stone was born in Worcester,
Massachusetts, November 15th, fifty-
nine years ago. His father, Bertrand
Stone, was in business with his father,
Timothy Stone: Timothy Stone & Sons,
makers of boots and shoes.
Lewis Stone's paternal grandmother
had four children: Mary Stone, Agnes
Stone, William MacDonald and Ber-
trand. Bertrand alone remained at
home. Mary, Agnes and William Mac-
Donald, sent abroad to make the Grand
Tour, to study painting and music in
Paris, suddenly, wildly, incomprehen-
sibly "went on the stage." Grand-
mother Stone's heart turned to stone
indeed when the fantastic news was
broken to her. Forthwith she closed the
door of her house and heart to these
"changelings." She removed their tin-
types from the family album. She for-
bade their names to be mentioned in
her hearing.
Then, one day, after the passing of
years, one blizzardy day when Grand-
mother Stone, now eighty-five, was
walking the five miles to church as was
her invariable custom (because in the
Stone household, on the Holy Sabbath,
not a carriage wheel turned, not a horse
moved in the paddock), Grandmother
Stone fell and broke her hip. She lay
in bed for two years and more. No one
ever knew what thoughts passed
through her mind, but when Grand-
mother Stone rose from her bed at last
the door of the homestead was opened
wide and Mary and Agnes and William
MacDonald came home.
"Those years of pain and idleness,"
Mr. Stone said, "gave her, I am sure,
the one and only virtue she had not
formerly possessed — tolerance. The
greatest of all lessons, tolerance. The
greatest of all virtues. . . .
"It was my first lesson, in tolerance,
too, hearing that story told. I never
forgot it. I needed to remember it, too.
For my mother was of the same fiber
as my grandmother. My mother did
not actually refuse me admittance to
her home when I announced my inten-
tion of going on the stage. But she did
give every evidence of tight-lipped dis-
approval of such a gypsy choice. She
refused to discuss the matter with me.
And when, on one occasion, I positively
ed her into coming to see me as
Dill Sifces in 'Oliver Twist' (one of my
earlier ventures) she sat there in the
audience watching me as though she
were seeing a Gorgon's head. When,
later. I asked her what she thought of
me she shut her mouth grimly and
looked at the ceiling. What she thought
of mi iparently, a bit of infor-
mation he was not going to impart."
oURELY from just such a background
the beloved Judye Hardy have
sprung, strong-armed with the sterner
virtues, sweetened by tolerance. . . .
The Judge, too. I think, knew gaieties
in his younger days as, in his younger
days on Broadway, Lewis Stone knew
the life of a young man-about-town
. . . and again, as Lewis Stone knew
tragedy in his early life when his young
wife, mother of his two small daugh-
ters, so suddenly died, so the Judge
must have had his heart bruised, his
sensibilities shocked, since only from
such bruising can the juices of human
kindliness run with so fine and healing
a flavor as our Judge presents on the
screen.
"Yes, I guess in many respects the
Judge and I are alike. Like myself, the
Judge is not one to retire and take his
ease. He has worked hard all of his
life as I have worked hard all of my
life. And neither of us could be happy
away from his chosen profession. I
feel that the Judge loves his work as I
love mine. I am so glad, so glad I am
an actor.
"Nor would the Judge be half the
man he is without his family. Nor
would I. Nor any man. I have two
daughters, as you know, both girls in
their twenties now, both married.
Their own mother died when they were
very small (Mr. Stone remarried a few
years ago) and, as a result, they have
always been with me through all of the
various ages and stages. Yes, we are
good friends, my daughters and I. And
so the Judge's 'family feeling' is some-
thing I need not feign or assume.
"The Judge, too, I feel, is the type of
man who does his work conscientiously,
to the best of his ability. And then lays
down his gavel and goes home. And,
similarly, I lay down my script and go
home. And it is home. We have a five
acre farm in the San Fernando Valley
here in California. I have my chickens
and ducks and horses and truck garden.
I keep chickens and ducks because I
like the noises they make. Farmyard
noises. I don't know what kind of
tanner the Judge would make," smiled
Mr. Stone. "I do know the kind of
farmer J make. I get fine spurts of
farming frenzy and potter about the
land. And then the gardeners, patient
after the manner of their kind, go about
undoing the damage I have done. I
have a workshop on the premises and
spend hours in there, whittling and
whistling away, ruining good lumber,
turning out something perfectly incon-
sequential.
"We live a very normal, very quiet,
very happy life. We play an occasional
game of bridge. Now, I don't know
about the Judge's game. But for myself
I can say only that I am one of the best
'contributors' to be found anywhere.
They even match for me! We go to a
neighborhood movie now and then,
Mrs. Stone and I. We have a circle of
friends, most of them nonprofessionals.
The girls come home for holidays and
visits.
"If to be healthy, happy, busy, with-
out skeletons in the closet or fren-
zied ambitions, is to be unexciting, then
I am afraid that we are very unexciting
people. But we have our fun," smiled
Mr. Stone, "we have our jobs, we have
Yesterday, Today and Tomorrow . . .
the Judge and I. . . ."
It would make an amusing tag line
for me to say that when I left Mr. Stone
I said, "Good-by, Judge Hardy." The
really amusing part of it is that I really
did!
76
PHOTOPLAY
Bright Victory
(Continued from page 24)
He was expelled from the University
after six months, because of a shindig
on the campus which become a hulla-
baloo and then a free-for-all: it seemed
to the authorities a significant thing
that George was the only one of thirty
students who emerged from the fracas
comparatively unmarred. Father Dan.
casting about for something to occupy
his protege until the time for his use
should come, took him over to the fa-
mous Abbey Players theater and got
him a job lugging props.
The stage suddenly became a living
entity to George. With his face and
brawn it was easy enough to persuade
the director he could handle a walk-on
in a scene or two: and with growing
poise, he wangled a bit and then a part
and finally a lead. He did these things,
until the night when Father Dan came
backstage to say. quietly. "Come
me tonight, lad if you would help your
cour.-
An hour later George ducked his
head to follow the priest through a
low-roofed passage into the cellar of
an outskirts shop. Behind a table sat
a man whose mouth was a grim line.
whose eyes observed George minutely
from beneath lowered lids.
'This is Michael Collins," Father Dan
told George, and the young man's eyes
shone. He stepped forward and saluted.
"It's proud I am at this mo-
sir," he said "In my way of thinking
you are a great patriot and a great
leader."
Collins stood up and held out his
hand. ■"Thank you. We need good
lads. You're one I see."
It was the highest praise he could
offer.
UOLLEsS assigned him as his dispatch
carrier. Then, for months, life was an
exhilarating brew, holding the mystery
and the secret-society quality dear to
any youth's heart. New hiding places
must be devised for papers, about his
body and on the motorbike: new stories
and explanations must be prepared for
the British soldiers, who were getting a
litde suspicious of him at last.
They were stopping him more often,
now, searching him with greater dili-
gence. It may have been because of
(hat r.:£>.: -.-•.■hen he hopped a truck,
prearranged to be driving that road at
that hour, for Belfast —
There was fog this night, and even
the towns were dark. George, walking
slowly along the edge of the road, heard
the truck coming and as it slowed be-
side him he began to whistle "Where
the River Shannon Flows."
"All right, George," the driver said,
and he climbed up on the front seat.
Suddenly a shout came from a hedge-
row, which they could see dimly to the
right, and after a moment something
hard struck the metal roof above them.
clattered across it and fell into the
road At that moment George saw the
dark uniform and the face of a British
captain he had met in Dublin, peering
over the brush. Then the figure, the
face, were gone.
That object lying behind them in the
road had been a hand grenade which
had not exploded.
' Close one," the driver said laconi-
cally.
"Right, sir." George said. But, gun
in hand he leaned out and looked back
again into the fog. If he had been able
to recognize — or think he had recog-
nized— that officer . . . Well, it could
work the other way. couldn't it?
The time was growing short, in any
case. Collins' preparations for the final
push were almost complete: and then
would come climax, the pitched fight
which would mean victory and all the
things the brave little band had worked
for: or defeat — and almost certain death.
Then, one afternoon, George sat at a
table in a Dublin restaurant, eating mut-
ton and reading a newspaper whose
headlines told of raids by the British, of
forays in the early morning hours, of
clashes at remote villages. The waiter
came up with coffee and George moved
his arm to make room for the cup.
He felt that the waiter was looking
at him curiously. He glanced up.
"Here you are, sir." the waiter told
him. setting down the coffee. He added,
softlv. "Have vou packed for vour trip.
George stared after the man as he
walked away. What the hell!
Something cold knotted in the pit of
his stomach at that instant. The waiter
had not been babbling. This was a
signal, of some sort. Leaving the cof-
fee untouched he tossed coins on the
table and keeping himself from running
with difficulty, went to his room.
He took a case of papers from his
Gladstone, sorted them, burned some on
the grate and slid the rest between the
material and the lining of a window
curtain.
He was lying on the bed. smoking and
reading, when the squad of British
soldiers knocked on his door. . . .
They departed disgruntled an hour
later, leaving the room in a shambles
but with the curtain untouched. "Don't
go out of Dublin until you are given
official release," the officer instructed
him.
For a few minutes George stood mo-
tionless, staring at nothing, trying to
make sense from what had happened.
No logical answer presented itself.
Slowly he turned and began gathering
his clothes to stuff them haphazardly
into the Gladstone. When that was
done he put on his hat and topcoat, took
the bag. and went without hurry down
the back stairs of the building.
Father Dan was waiting for him, in
the growing dark, at their regular meet-
ing place beneath a road bridge leading
out of Dublin.
*The Holy Mother be praised!" the
priest muttered taking George's arm.
"You're out of it. then. George, they've
got Collins. They caught him in am-
bush a*td . . . But that makes him a
martyr. When they've finished with the
others they'll be after you. You'll have
to make a break fc:
"Til stay." said George, "and see the
thing thro~_-
Tt's hopeless." Father Dan's hand
was urgent on George's arm. "Well try
again, later — and then . . . But you've no
time. I heard them talking. By morn-
ing, after they've found what they're
hunting for. you'll have a price on your
head of a hundred pounds."
For a moment the two stood in
silence.
"God be with you." the priest said at
last.
A moment later George stood alone,
the world and his future in ruins.
Life's finest sentiment de-
mands the finest. A hand-
wrought circlet of such
beauty that time cannot
outmode it — a ring so ex-
quisite in its loveliness that
admirers will never questi' >n
its quality even though it
be modest in price. Your
jeweler will gladly show
you the manv different de-
signs in Genuine Orange
Blossom rings which have
been prepared for your
selection. Ask him for vour
copy of "Orange Blossoms.'"
a lovely and useful book (or
brides.
Escape from Ireland and the British
brought George Brent penniless and
alone to America once more. There the
fighting Irishman faced reality at last
and there came to him lore, marriage,
divorce and the greatest honors Holly-
wood has to offer. Don't miss — July
PHOTOPLAY.
:6?7*t
ENGAGEMENT AND WEDDING RINGS 6»<fau*t
JUNE, 1939
77
SPECIAL TYPE MAKE-UP
MATCHES WARM, PULSING
COLOR OF HUMAN BLOOD
Shows Thousands
How to Win Loveliness
Discovery of French Colorist Changes All
Conceptions of Allure in Make-up—
Utterly "Natural-Looking" in Effect
THERE is a new way of make-up that may help you win loveli-
ness you never dreamed could be yours.
This way is with a special type of cream rouge, developed in Paris
by the famous colorist, Louis Philippe. This rouge actually matches
the warm, pulsing color of the human blood. As soon as you apply
the proper shade, it blends with your own natural skin tones. The re-
sult is a vibrant, glowing color that seems like a living part of you. So
there is no longer any excuse for that artificial look that men despise.
You need not apply Angelus Rouge Incarnat nearly as often. Being
a cream rouge it will not brush off or blow off, but stays perfect for
hours on end. There is no need for constant fussing or re-touching
to keep yourself attractive. So try this way. Try especially the new
color magic, Formal Red, Number 405. The matching shade in lip-
stick is Number 404. By day it is gay and enchanting — after dark
mysterious, exotic . . . utterly compelling.
And see the other gorgeous shades, too — like Framboise, Number
424 and Coronation Red, Number 401. What they will do for your
appearance is almost beyond belief. At all drug and department stores.
ANGELUS UPSTICK
by
Loun Philippe
CREAM ROUGE
in colon to match
Ihc Lipstick
Second Chance
(Continued from page 62)
liiten to "The Romance of Helen Trent" week doyi at 12:30 P. M , N. Y. Tim*, Columbia Network.
remember something special about the
time you made that picture?"
"Only that it was made in the old
>!i;uk of a studio Goldmont used to have
off Vine Street," I says, trying to push
away the years.
"The reissue is still a Goldmont re-
lease," says Jelliff. "Wasn't there some-
thing funny about your contract with
them? Judas-horned-betailment, I know
there was!"
"Well," I says, "Goldmont was a kind
of half-baked outfit at the time and
didn't have much dough. It seems to
me. . . ."
"It seems to me I drew up that con-
tract," Jelliff interrupts me. "And that
you've got certain rights . . . say, I
suppose we could force Benny Rossman
to show us a copy of it, but. . . ."
"Maybe it won't be necessary," I fin-
ished for him. "Jelliff, my trunks! Do
you suppose by any chance I saved my
copy?"
I HE idea was enough to set us frantic.
I helped Jelliff inside and began to sling
that veteran baggage around like a red-
cap and then we dug in.
There were programs and clippings,
but there was nothing even resembling
a document. Then, just as I was about
to give up, my eye caught an old menu.
It was full of something else which
dropped at my touch. Jelliff grabbed
the folded paper with a yell like a jit-
terbug and set his spectacles on his nose.
"Here we are," he gulped. "Let's see,
let's see, I pretty well remember it,
but. . . ."
Jelliff had done a job on that con-
tract which would of made a modern
Hollywood flesh-peddler jealous. He
had drawn up a document by which in-
stead of pay, I and Jim had taken part
cash and a third interest in the picture.
What was even more surprising, Jelliff
had put in about reissues and dramatic
or other speaking rights, as well as any
published version. There was no ques-
tion in the world but that I still owned
a piece of the month's top box-office
release!
"My Gawd," says Jelliff tremulously,
"didn't I tell you you needed a man's
protection?"
WELL, there is an old saw which says
"An umbrella today keeps the rain
away," and it certainly looked like we
had found a parachute. We were going
to be able to bail out, but not, we fig-
ured, without opposition. Benny was
hardly likely to ring for the cashier the
moment we mentioned "Lillie of the
Valley." And then, speaking of theatri-
cal Angels, just as I and Jelliff were in
the middle of talking about this the tel-
ephone rang and I answered.
"Miss La Tour?" says one of those
buttermilk female voices peculiar to pri-
vate secretaries, "Mr. Rossman of Gold-
mont calling." I put my hand over the
receiver and told Jelliff.
"I'll bet he's got me another janitor
job," I whispers and then Benny was on
the phone.
"Hello, Marie," he says pleasantly. "I
haven't seen you in a long time. How's
things?"
"What do you want me to do for you,
Benny?" I says.
"Now, now," says Benny, "don't go
flying to any conclusions. I've merely
been thinking over what you said about
our old quarrel and I'm man enough to
admit you're right. Can't we bury the
hatchet long enough for a little talk?"
"If it's buried where I can reach it
easily," I says with caution.
"How about three o'clock at my of-
fice?"
"Okay," I says and hung up. Jelliff
stared at me like an eager hound while
I told him what had been said.
"I'm going with you, if it kills me,"
says Jelliff grimly. "You may think you
can do without a man's protection,
but. . . ."
BY the time I and Jelliff and his
crutches reached the Goldmont lot that
afternoon, we had decided to play dumb
bunny and let Benny do all the talking.
The Big Front looked quite surprised
when I introduced Jelliff.
"Agent, eh?" he says. "So even you
have one in your pocket!"
"Witness for the defense," I corrected
him. Benny, plainly excited, handed
around cigars, even offering one to me.
"Look here, Marie," he finally began,
"you did a little work on a picture called
'Bringing Up Mother' while I was in the
East, remember?" I nodded.
"So I have been having some trouble
with that picture," says Benny. "We've
been getting howls of protest from the
exhibitors and we've withdrawn the
picture for a remake. Here is a chance
for us to do each other some good. We
can still remain enemies if you like.
But I've been talking with the people
who saw your footage and they are all
agreed it ought to go back in."
"Miss La Tour," says Jelliff, "only did
that work as a favor. She was a stand-
in, so to speak, without standing, salary
or contract."
"I knew you were an agent," says
Benny sadly. "Go on from there."
"She'll want a lump sum for the time
she's already worked," says Jelliff, "and
five hundred a week during the remake
in case you need her."
"It's a holdup," says Benny, "so I'm
not going to bargain. We've got half a
million dollars in that film and in drder
not to throw it out the window, I have
already got six of our best writers en-
larging Marie's part." In spite of myself
I couldn't help but feel pretty excited
by that.
"That's interesting," I says, "but why
am I so good all of a sudden?"
"Two reasons," says he. "First, any-
body who can get be)ly laughs out of a
projection unit, holds something. And
the second reason is that reissue of 'Lil-
lie of the Valley.' "
Then he shoved some papers towards
Jelliff. "A memo agreement I had pre-
pared," says Benny. "You might look
it over." Then he picked up a couple of
telephones while I and Jelliff went in-
to a huddle at the other end of the room.
I HE contract Benny offered was so near
to what we wanted that there was no
argument necessary, except it called for
options, which Jelliff made me cross out.
"Just the one picture," he insisted in
a whisper.
"You might be good, you know. And
how about that old contract? Shall I
jump him on it now?" I thought quick
and shook my head.
"I may be a sentimental old fool," I
whispered back, "but I'd rather set my-
self in right here on the strength of
what I can do, than by means of any
threat. We'll let 'Lillie' come up some
time later. Right now I'd rather give an
accounting than ask for one."
Well, by that time Benny had finished
putting his phones through their lim-
bering up and we were ready for the
dotted line. Benny added his signature
and then buzzed his secretary.
"Miss La Tour and I want to look at
:?,
PHOTOPLAY
her sequences right away," he says to
the black box on his desk. "Let me
know the minute projection is ready
and tell them to move fast!" Then he
sat back and relaxed.
"That's fine," he says. "I always did
think you had the real thing, Marie.
And I believe we're going places now."
"Do we get the same director?" I says,
trying to seem casual. "I liked him a
lot."
"Well, maybe," says Benny, doubt-
fully. "But I think if we could get a
fresh angle. . . ." Then the black box
buzzed.
"Sorry, Mr. Rossman," says the but-
termilk voice, "but projection says you
released that footage to Christie Beall,
several weeks ago."
There was an instant of stunned
silence while Benny stared at the black
box like he was going to bite it.
"Get Chris on the phone," he shouted.
"The thief. I want him quick."
It was a long nervous wait before
Chris could be got on the phone and
Benny explained what he wanted.
"Get those cans and yourself over
here," says Benny. • "I suppose now
you've got to do the remake, damn it.
Hurry, Sweetheart." I could hear Chris'
gleeful shout over the phone.
"I'll be there in twenty minutes," he
says gaily.
Then Benny ordered a projection
room to be got ready and we sat down
to wait again talking lightheartedly
about this and that and then at last the
door opened and there was Chris. One
look at his gray face and a chill went
down my spine.
"Well?" says Benny.
"The films," says Chris through white
lips, "they're gone! They've been sto-
len!"
WHEN I and Jelliff got home late that
afternoon we were just about as cheer-
ful as two old pieces of pressed seaweed.
Betty's face went white when I told
her what had happened and, as I con-
tinued the story, she got to her feet
and threw away her kitchen apron. Her
eyes were dark and so terribly seri-
ous that I broke off talking for she had
me scared.
"Gram," she says, "I've done you
enough harm. I've been a fool. I've
been the jinx of this outfit, not you, and
it's time I took myself off your hands
once and for all.
"I've got something to attend to," she
says grimly. "I only hope it can be
done." Then she made for the door.
"Wait, you screwball," I shouted after
her, but she acted like she didn't hear
me. Jelliff put a hand on my arm.
"She knows something." he says.
"She's been acting funny lately. Best
let her get whatever it is out of her sys-
tem. I believe in discipline, but. . . ."
mELL, my mind did an old-fashioned
flash-back to that talk Betty had with
Alex Lorm in the hall. But, I didn't
mention it right then.
And so when Chris showed up, I got
all set to spill a carload of troubles. But
he was a jump ahead of me before I
could open my mouth.
"Behold the great Deliverer," he says,
"who can't deliver! Just to make every-
thing perfect, Reis called me after I saw
you. He'd been reading Variety."
"What?" says I and Jelliff both to-
gether.
"Yes," says Chris. "He forgives your
social deficiencies in view of your box-
office possibilities. The hook comes with
the fact that some dummy told him that
the stuff I had of yours was a discard
from 'Bringing Up Mother,' and he
wanted to see it right away."
"So do we," I agreed.
Then he caught sight of the empty
cans on the table. "The sauce of my
life is out, I see," he remarks.
"Yes," I says, "your little fillette-of-
sole-mate is out and I'm worried about
where." And then I told him very care-
fully everything I knew about Betty and
Alex. How Alex thought she had
money of her own, and how he'd wanted
her to form that fool Swing Adagio team
with him, and last and worst, how it
had seemed like he had some sort of
hold on her. Chris listened attentively,
his face growing blacker all the time.
"Damn it, I wish I'd known this be-
fore," he says. "She may have gone to
him now!"
"Have you seen Lorm lately?" I asked,
scared by his earnestness.
"Not since that day he came to my
house trying to sell me the idea of spot-
ting his dance in some picture," says
Chris. And then suddenly I could see
a thought cross his mind.
"That was the day I locked up your
footage," he says excitedly. "He knew
what was in those cans!"
"Chris," I says sharply. "Do you sup-
pose by any chance. . . . ?"
"I'm going to find out," he says furi-
ously. "And no later than now. You'd
better come along in case Betty's there."
'I'll watch the house," says Jelliff.
"Wish I could go with you but. . . ."
KlDING along in Chris' car through the
star-filled night. I felt like it was all a
part of an old movie and that the Mack
Sennett cops would catch up with us
any minute. But they didn't and when
Chris passed his own house and drew
up in front of the neighboring one where
Alex Lorm lived, I came back to reality
with a crash.
There was only one dim light in the
bungalow ahead of us, and as we walked
up the path Chris began to mutter some-
thing about nobody being home. But,
after we rang the bell, someone com-
menced shuffling around inside and
pretty soon a woman — one with land-
lady written all over her — opened the
door a crack. She sniffed suspiciously
at us before answering the inquiry Chris
made.
"Lorm?" she says. "Why no, he don't
live here any more. He moved out last
week and didn't leave no address."
Then she shut the door abruptly. I and
Chris stared at each other like a pair
of McCarthys.
"Well," says Chris at last, "he seems
to have made the usual Hollywood bow-
away. And the question is, where
next?"
"He has a rich childhood friend," I
says, "second childhood on her part.
The name is Lydia Watt.
"I know the place," I says. "Come on,
let's get going!"
I HE enormous Spanish-tripe mansion
which Lydia Watt had exchanged some-
thing or other for, was lighted up when
we got there and the butler opened the
door with an air of just having made a
quick change into his coat.
"Is that — is Mrs. Watt at home?" I
says.
"No Madame, Madame is out of town,"
says he.
"Oh, she is, is she," I says, as cross
as if I had the right to control her.
"Then I don't suppose Mr. Lorm is here,
either?" The butler gave the sort of
trick cough they always give when em-
barrassed.
"Mr. Lorm was here a short while
ago," he admitted. "He left when Miss
Betty came!"
"When Miss Betty came." I says after
him. "How long ago was that?"
"Around six, I believe." says the but-
ler. I looked at my watch. It was now
after eight.
"What happened after she got here?'
Chris put in. "Come on man — this is
very important."
li
NOW EXTRA
SKIN-VITAMIN"
(N THIS Mill
POWDER BASE*
Women who are careful <>f their make-up
are alwa\- eager to hear about the extra
r'-kin-\ itamin" that comes in a famous
powder ba»< — Pond's Vanishing Cream.
Skin that lacks Vitamin \ becomes rough
and dry. But when this "skin-vitamin" i-
ri-tored, it help- make ?kin soft and
smooth again.
I ae Pond's before powder and over-
night to help supply this important vita-
min for vour -kin. Same jars, laltel-. pi
j)C Statement* concerning the effect* of the "akin-vitamin" applied lo the akin are baaed upon
medical literature and teata on the akin of animals following an accepted laboratory method.
Coprri«bi. 1939. Pt/ad'a Extract I
JUNE, 1939
79
brings YOU the Glamour
of the STARS
P€RC WESTMORE, Make-up I > ir ■ -. t i>r .it \\ artiir lire-., adds ttie transforming touch of his
ravolntMnarj ( olor-filteix d cosmetics to Mill DAVIS— dazzling sta$ of Warner Bros. "JUAREZ"
J I est more Color-Filtered Cosmetics
Transform your Complexion Instantly
r
l ill", motion picture world, they call Perc Westmore
"the greatest cosmetic colons! that ever lived!"'. ..You
have Been the evidence <>f his genius on the faces of tlie
on the Bet and off. Now you can see it on your aim
What !'• !■ W I -tmore docs for the stars, he can do
lor you— through his revolutionary discovery, COLOR-
I LLTERED < OSMETII S. Cosmetics free of those hidden
tour- thai cast uglj aging shadows. Make-up thai gives you
a thrilling constant gl i a nnder unflattering lights!
rt with Westmore color-filtered Foundation Cream. Drop
ii your drug, department <>r ten-cent store today— wad
a-k to Bee the four luminous shades \\ith Powder t<» match.
PERC WESTMORE
WALIY WESTMORE
■utlun
BUD WESTMORE
: .1/ ^tllh < rnlur, I ...
MONT WESTMORE
Maie u/< li. ■ ilnlrrnon.mal
^#E STM 0 Rr^
HOLLYWOOD
Will, it was like this, sir," says the
white Coat "Miss Betty and Mr. Lorm
in the living room talking for
quite a while. They talked pretty loud
nd they both seemed ex-
. thing. Then Mr. Lorm
ipstain and pretty soon he came
down with a couple of suitcases, and
put them in hi*- I
"Oh. my (). v. .i I says. "Go on!" The
butler looked more embarrassed than
ever.
"I'm not supposed to mention it." he
says, "but I feel I should, to you, Miss
La Tour. For you see Mr. Lorm gave
me the address of a hotel in New York
and told me to send the rest of his
things thei
Then I asked the butler. "Miss Betty
went with him, I suppose?"
"Yes, Miss La Tour."
"They've done it." I says bitterly.
"They've eloped! The poor crazy child
really meant what she said about net-
ting herself off my hands and I didn't
believe it."
"Hold on," says Chris, "maybe it's not
too late to stop them. Didn't they say
where they were headed? To Yuma?
To the airport?"
"Well, sir," says the butler, now really
upset, "I did hear a mention of San
Pedro. There is a steamer sailing for
New York tonight." Chris was fumbling
with his bank roll before the man had
finished speaking.
"We're going to catch that steamer."
he says, hurriedly giving the man ten
bucks. Then he turned to me.
"Hop along," he says, "if I step on it
we can just about make the grade."
nELL, I will never forget that night
drive so long as I live. The road to
San Pedro was deep in fog that billowed
in from the ocean along the low lying
stretches, blotting out the stars and
throwing our own lights back in our
faces. It was a long lonely road through
the foothills, anyways you look at it, and
Chris spoke only once the whole way.
"Steamers are always late sailing," he
says in a hoarse voice and I tried to
take comfort in the idea.
Then, at last, the lights of San Pedro
came into view. We dashed up over
the bridge listening with all our might
for the blast of a ship's warning signal.
But there was no sound of it as we
rattled in over the broken paving and
railroad tracks of back streets, Chris
taking every short cut he knew. And
then, at last, there was the pier, all
brightly lighted and busy, but with no
sign of a ship. Suddenly I gave a cry
r.nd pointed to a ghostly form well out
in the bay.
"Look, it's her," I says, "she's sailed.
Oh. Chris, we're too 1
Chris drew his brakes on so hard they
screamed and dragged me out of the
car.
"We'll get a boat." he hollered crazily.
"We'll radio and if they're on board
we'll manage. Keep your chin up."
Then, at last, we were out on the dock,
which was filled with that letdown
slackness which follows when a big ship
has just gone. Chris was grabbing
everybody he could, asking questions,
and I was looking around through the
nervous tears which wouldn't keep out
of my eyes. Then some instinct caused
me to walk out on to the open part of
the dock and there on a luggage truck
sat Betty all alone, crying as if her heart
would break.
Chris heard as soon as I called her
name and came running. By then I was
running towards her. too. And first
thing we knew Betty had heard us and
looked up.
"Gram." she called. "I've got them.
Oh. Gram, Gram, look!"
With which she stood up and the cans
of film on her lap dropped off and com-
menced rolling in all directions.
"Stop 'em," I yelled. "Chris, let Betty
alone. Catch those cans."
And then we were all after them, chas-
ing the darned things which traveled as
if they were alive. One rolled right to
my feet. Betty threw herself in the path
of another just before it leaped into the
water. The last one went spinning
down to the end of the pier, but Chris
got it in time, and we all come together
breathless with relief and excitement. I
held out my arms to Betty but for once
Betty didn't see them. Her head was
already buried in Chris' coat, and his
arms, I could see, had taken on my job.
"Oh, darling," Betty was saying. "I've
been such a fool. That's the proper
thing to say, isn't it? Well. I mean it.
And I love you, too, what I mean."
About that time I decided to walk back
to the car and put those reels where
they couldn't run away.
"Moving pictures," I heard myzelf
muttering, "and I never before knew
how fast they could move."
nELL, I would really prefer not to have
this following part of the story pub-
lished, on account it is really none of
the public's business. But what with
all the present light of publicity beating
upon me, I expect the fan mags will
make up something worse, so I might
as well beat them to it and tell the
truth.
Alex Lorm had stolen those films.
He'd done it, as we thought, to get in
right with Betty. And Betty knew he'd
taken them and while she was sore at
me. she hadn't done anything about it.
"At first he'd just hidden them," she
told us. "And then when he heard the
talk about your revival picture and Reis
being interested, Alex couldn't decide
whether to try and make some use of
them or whether they were too hot to
keep."
"But, why didn't he destroy them?"
Chris asked curiously.
"He was too much of a coward to do
anything definite, I guess," says Betty.
"So in the end he simply gave them to
Mrs. Watt and told her a fool story
about their being indiscreet foreign
films a friend wanted to get rid of. She
promised to throw them overboard at
sea.
"When I went there tonight and
found that Alex didn't want to ask her
to give them back I threatened to have
him arrested for stealing them. We got
them off the boat just in time."
"And Lorm has gone down to the sea
in that old barge," I says. "Never mind,
that's one kind of jail that's really hard
to get out of!"
I HE rest of the story is too well known
to repeat. Everyone has seen my hand
and footprints where I did a backflip in
the wet concrete at Grauman's. Every-
one knows about what "Bringing Up
Mother" did when it was finally re-
leased. And Heavens knows, there was
enough in the papers about it when
Betty and Chris were married and it is
perfectly true that she baked that won-
derful wedding cake herself.
However, one thing I do want contra-
dicted. Mr. Jelliff is not penniless as
has been implied. Not since he collected
his commission on that old contract, as
my agent.
And as for what the columnists say
about I and Jelliff being altar bound
just because of our being seen together
in the Brown Derby so much, well I
wish to state that all we were discussing
was the bids Benny and Mr. Reis are
making against each other for my serv-
ices. As Mr. Jelliff often says, we are
too old to be thinking of such nonsense
as marriage, BUT ....
The End
80
PHOTOPLAY
Photoplay's Own Beauty Shop
C: • •.:: ■■• ed from page I
sculptured line. Hie frog-walk exercise
satisfies all these demands, because it
pulls in your tummy, takes inches off
your waist and firms your legs, especial-
ly the calves to a smoother line.
Penny illustrates for you (Exercise
B) that old stand-by to firm your
tummy and practically melt flesh off
your thigh* Tou were probably taught
how to do it in grammar school and, if
you've been doing it faithfully ever
since, you can skip the following in-
structions. To do it correctly, as Penny
shows you. you stand up very straight
and tall with your arms lifted, fingers
touching at the back of your head. Then
you take a deep breath and sink slowly,
keeping your back straight Raise your-
--: : ■ rar.d.r.r z :•:'.. r. :-.re.:r. v. .ah TUT
wavering, and -»-*hal«- This will help
your balance, reduce the thighs and hips
and also mold your legs in a nice
streamlined wag
Not for Penny, merely touching die
floor with her finger tips. She can lay
both her hands fiat on the floor _. -
erase C) without any difficulty at alL
And does, every morning without fail.
You probably won't be able to do it
the first few times you practice, but if
you keep at it you soon will be able to.
The main filing, of course, is to keep
v:ur lere r:;::- v ':.. ■: . .r.ar.r down.
You'll feel the pull at the back of your
!;:; ar.d ;.;■.■; ■;; : : ~: r'.r.r feehr.r
that this exercise, too, is firming your
legs, slimming your thighs and keeping
your tummy from sagging.
Penny and I decided that Exercise D,
which she is doing on page 8 should
::-._; :~ .r.:.,:;: :r. : _r las: :: =x-
:-. ..= .-- ■ r. r. : " " .-■. : la y -a :.;.:; : a a
fhen keel :: perde::. V: _ ;:re:ah y: ar-
self out on die floor, then lift yourself
by your hands, with your elbows point-
ing out to the sides, remembering to
raise your whole body, as Penny does.
Thaa :e
'- la. ar. h. v. :. - •' -; ■ -. . ■ "-: :. :-.! a ar: ::
the modem suhouette. This exercise
pulls on all your shoulder and chest
r.aaales Tel-Tea ::~. eareraa.T t aa r.e.h :r.
y:ur sha-dder; and darrr.s ar.d leads y:ar
breast to give you that young fashion-
able appearance. It's definitely one ex-
er:_se you sheuli r.a: sl-:a_r
There are several other exercises that
are just is d-ereh:.al era ve.luaale ":u:
we decided that these shown here are
representative of die lot and will cure
almost any figure fault. So if you'll get
right to work on them and keep at it
:'aT-dad_lly Ire. e.re ; ... :e ~ . :e da:.-.
plggtspH with the results. And a lovely,
deaa-adally —:'.ded tt- .re .; ee. ::■:■ da r.
-..--.rah. el. dae ■■■■ a It ar d ad a .r.aT _ --::-
essary to achieve it.
IhE COLOR PROBLEM after you've
gotten this lovely figure for yourself,
naturally you want to display it. After
all, what's the use of being positively
streamlined, if there's no one to appre-
ciate it. So, your first idea is to dash
right down to the beach and loll grace-
fully around for all to see. That's all
very well and good, but you'd better
-.-.alee a a y:ur rr. ar.d r.re: v daeaher y;u
want to stay lily-white or go in for a
nice sun Ian. These ere several da.rra
:t a.r.aadee 1 : -: dae :ar:
new shades for spring and summer
make-up are very delicate. They're not
quite as purplish or cyclamen as they
have been dais whiter, bai: there's stall
a definite :ra:e ::' bine irr dae pink,
The pastel tones in make-up are def-
initely set for the spring and summer —
a- ..: -,-e -:.-!■: l.a .-: 1'. ar a r re 1
pale powder. Even eye shadows are not
so dark or so bright The light blue
eye shadow is the smartest and most
popular and, of course, your nails should
be pink, too, to match your cosmetics
instead of the deep red or purplish
tones we've been wearing all winter. A
blonde looks as fragile as a Victorian
lady in this make-up and almost any
man wants to shelter and protect the
helpless little creature.
There's a new shade in make-up out
too, for the brunette who can't wear the
pastel shades so becoming to hl^nwfr-c
i bright new, vivid red, a true
scarlet that comes in both lipstick and
rouge and also in nail polish. It accents
a black or white or navy costume in a
'■' . a* . r. a : ,.t; a", t t a . e
It's always a matter of individual taste
as to whether or not you want to ac-
quire a glowing sun tan. But before
you do, take your make-up into con-
.= . a . a ■ " : tt
If you're blonde and wearing pastel
cosmetics, then you can't tan at all or
you'll ruin the entire effect of your
make-up. What you can do, though, is
toast yourself to a nice brown and wear
this vivid red lipstick discussed above.
because it accents your tan and is
5— a—. Bnmettes can nui if wheTd-.er
■.-;;• :;r. :r r. : :. . : dae; dr.- have alae
blar.des ar:dleaa
Before you go out in the sun, remem-
T:T - >t a :_— e y : a had It.-- year Ty-
ing to get your skin into shape again
after a long, hard summer spent out-
d: r.= The ; _r. arys ar.d caarser.s yoot
skin, if you're exposed to it too much,
bleach it out and soften it so that you
dr. T 1: 1; ld-Te a • ■ e ■■ • a-.. - :e a:er. aar.ve-
man. Be moderate in your sun tanning
and keep your skin well lubricated.
A good idea is to get all the sun tan
you want on the rest of your body but
protect your face. It's healthy to stay out
in the sun, but it doesn't do your face
very much good because the drying-
out effect is too difficult to combat You
needn't worry about your pale face in
Tea' - y a Ta.-_r.e-i arras ar.d ler a
_ . __. ... .._ ■_■_--■- ~iri~.. -r _ ...
simply using a dark powder on your
face. It will save you loads of grief
later on when the summer is over and
you wish you hadn't been the athletic
type and wonder why you didn't just
E_tay ur.der ar. arrerella :r The tea ..a
You can get special lotions and bases,
too, that you can use both as a sun
reseller arrd a :t era . -
won't have to worry about protecting
y : _r : : rr.r lee:: t r.
Be careful of your hair when you go
in salt water because it makps hair
sticky and raises havoc with your wave.
it in place and get plenty of oil sfaam-
tttt- ■: l-teer it ;l:.;y Z 1 a "- rae h.a.r-
dos are too difficult to manage during
die summer, if you're going to be run-
ning around outdoors, and a simple,
.lea . ; hair = y 1 a t h a : dear.:
much time or trouble to arrange is more
attractive anyway ::r ar. ar-tTrrr.a. ea-
rner
Cutting your hair short in the new-
baby manner is really the ideal solution
for a carefree life for it's terribly smart
and practically no trouble to take care
of. You can even wash and set it your-
self with a minimum of bother. If you
la: - a -re l-.Tr d .:' : a ah - ; -. re: w
with h, it takes years off your age and
^z\iz a riauar: rharrrr. tc yonx :ea:a;re-
Norma Shearer and Bette Davis are two
of the Hollywood stars who have had
their hair cut this way and it's enor-
mously becoming to both of them.
vy///if///r.
Social rtat-ritt. ham Lon.i
Mrs* Iiake ra r^trmri at ike In-. -
o. Bn-wet*. __i arrnce Kfe, bW U the «ife of
a I ii ■liana. C-gaaaaaaaW in Ike lutH States
X-rrr. She -_rr»: *"V/w that I a
I oVpcad on Ri -n more tbaa ever
tor petiett ____!, :~
////'////,) NEW .)//////// ////// ////////// .)///////
■
. . and TR-NGAR i- a Romany
queen ! Gypfr rtse-ird . . . rich, wonderful with navy,
Mad. »rev, beise and all the flower pa_-t- - -
important fashionably this season. Like J
TRINCAR comes in three •rraduated tones — each -
to inJividaal taste. And so vou may choose TRINCAR-1 .
light rypsy rose-red: or TRINCAR-2, medium z
rose-red; or TRINCAR-3, dark frypsy rose-red. with the
certainty that — liiht, medium or dark — it is the
loveliest most fashionable shade yon can wear! Smart
women the world over say that Revlon is b* -
best forwear, best for nails. You — and your nails —
wtO prefer Rerlon Cream Nail Enamel. I- -
creamy t . rture keeps nails on their best behari- r
"UNCUt 1, 2. or 3. Featured in lej
department stores and hi quality beauty salons.
fciTffit
IB i t^ d^ mm* car-, n it
MOM M '*- *" '*- BfBaWal *
faraii aa-ahlt Bai »h-<h ■_■ ■ I— ■
-ft aad chmic, itlaaiaa.
rjub to erarar aacaralh.
A
?(f/t
CREAM , ////// //////////
V //////////
JUNE. 1939
to you or about yoct f
Use a long-lasting
Deodorant
Juarez- -The Life History of a Movie
(Continued from page 27)
y^TTRACTIVE GIRLS will go on
f>( longing — in vain — to have
"sweet nothings" whispered in their
ears, until they learn the simple rule
of long-lasting personal daintiness.
Every girl needs a long-lasting
deodorant . . . one that cannot be
neutralized by a shower, or become
ineffective after an afternoon of shop-
ping or an evening of dancing.
No matter how sweet you are at
the beginning of the day — or eve-
ning— excitement, exercise, nervous-
ness are bound to make you perspire.
Once your underarm becomes damp,
your fate is scaled.
Perspiration odor may not only
kill your glamour on that occasion.
Its stale odor, intensified by the heat
of your body, will hover around you
every time you wear that dress — and
people will turn away disillusioned,
revolted.
Play Safe!
If you think this couldn't possibly
apply to you, smell the armhole of
the dress you are wearing when you
take it off. It may explain the disin-
terested attitude of men you have
known.
No wonder so many refined and
cultured women consider the use of
Liquid Odorono so important to their
charm and poise. Liquid Odorono
keeps your underarm dry from 1 to
3 days. It instantly diverts perspira-
tion from that one small closed-in
area to other parts of the body where
it can evaporate freely. A doctor's
prescription, it scientifically controls
dampness, odor, staining.
Only Twice a Week!
M ' women need only two applications of
Liquid Odorono a week. You can forget
about odor or dampness — or the dreadful
fear of embarrassment from them — for as
much as three daysl Think how c.-isily that
solves the problem of everyday daintiness.
Liquid Odorono comes in two strengths —
Regular and Instant. Also in Ice form. Tested
and approved by Good Housekeeping
Bureau. The large sire is more economical.
Buy a large-size bottle or jar today I The
Odorono Company, Inc., New York, N. Y.
came to our third test of Paul Muni.
one person said: 'Make him darker.'
.•mother: 'Change the high lights.' We
il all over again but we got off
on the wrong track. Finally we came
back to the third test, which was by far
the best.
"Bette Davis didn't need many make-
up tests," Perc Westmore continued. "I
wanted her to look as fragile as Dresden
china. Ordinarily we'd give her a much
darker make-up. But we threw aside
all rules. With a very light make-up
and dark lip rouge, framed by her black
wis. her face looked definitely chiseled.
Carlotta's mouth had a Cupid's bow and
a perpetual smile. We painted Bette
Davis' mouth with slightly upturned
corners. She liked it so much that now
she paints it upturned all the time.
"We cut her hair down to about three
inches all around her head. She wears
it slightly swirled. It's definitely a new
trend. We didn't have to cut off her
hair. We could have dyed it black. But
the wig was better for Carlotta's
smoothly polished headdresses. And it's
very becoming to Bette.
"Maximilian was the blond. We had
to bleach Brian Aherne's hair and make
a plaster cast of his face to get the ex-
act shape of his jaw, so his beard would
fit. We tied each hair individually to
a mask of hairlace (a fine net invented
by Westmore in 1924) . It took Aherne
two and a half hours to put on his beard
each morning and he found he couldn't
chew when he wore it. He had to drink
his lunch through a straw all during
the picture.
"Every one of the hundreds of extras
playing Frenchmen, Mexicans and Aus-
trians was made up individually. Our
make-up people were here at four in
the morning, cleaning and labeling the
three hundred mustaches used each day,
for they had to be ready for the extras
at six."
HE get our first glimpse of the shoot-
ing of "Juarez" on stage 7, where in the
huge gilded council chambers, lined
with painted tapestries, Louis Napoleon
(Claude Rains), his Empress Eugenie
(Gale Sondergaard) and his ministers
are sitting around a table. Director
William Dieterle is rehearsing the play-
ers.
The first shot is a long or establish-
ing shot of the players at the council
table. This one is made with the cam-
era and cameramen perched on top of
a long crane suspended above the heads
of the players. "Okay for sound," calls
the mixer. They can begin the scene.
Louis Napoleon has undertaken the
conquest of Mexico because the United
States has been too busy with the Civil
War to enforce the Monroe Doctrine.
Word comes to him that the North has
won the battle of Gettysburg.
"It's your business," Claude Rains
yells at his Minister of War, "to know
which side will win a battle before it is
fought."
To save Mexico for France, Eugenie
suggests creating a puppet emperor,
perhaps Maximilian of Hapsburg, who
will return to France the lands con-
fiscated by Juarez, the Mexican presi-
dent.
"Of course, the request for a sov-
ereign must come from the Mexican na-
tion itself." Gale Sondergaard says slyly,
meaning that they will hold a fake pleb-
iscite (like Hitler's).
mOST scenes last about a minute, or
part of it. But this scene lasts nearly
two minutes. Now it is broken up into
medium shots and close-ups so that the
facial expressions of the players will be
seen. These will be intercut with the
long shot.
The two archvillians in this scene,
Gale Sondergaard and Claude Rains, go
off the set to relax. "I don't mind play-
ing a villain," Gale Sondergaard tells
us. "Eugenie is a fascinating character,
even though she does everything she
can to balk what the picture stands
for — the cause of democracy. I'm proud
to play Eugenie because she shows up
the side of dictatorship in its true col-
ors. This is the most magnificent script
I've ever read."
Claude Rains, having his goatee ad-
justed by the make-up man on the set,
bears a striking resemblance to the
Winterhalter portrait of Louis Napoleorj
in the Tuileries (bought by the studio
to hang in Maximilian's palace in Mex-
ico) . "They had to cut down my mus-
tache," he tells us, "otherwise, you'd
see only my mustache in the close-ups."
The rest of the week will be spent
shooting all the scenes which take place
in the council chambers on stage 7. But
Gale Sondergaard gets sick. Jack Sul-
livan has to switch the schedule and
call Bette Davis to play one of her in-
sanity scenes.
I HAT night, set carpenters hurriedly
construct the set of a Paris hotel room.
Scenic artists paint the backings of
buildings to be seen through the win-
dow. Overhead pipes are laid to give
the effect of rain.
The next morning the set-dresser
"dresses" the room with dark draperies,
a little oil lamp and plush furniture of
the period.
When we see the set, it is as dimly
lit as an ordinary room. We ask Tony
Gaudio, director of photography, why
there is so little light.
"We're using a new kind of film, so
much faster than any we've ever used
that we only need half as much light,"
he explains. "It gives the photographer
a chance to use more natural lighting so
that when you see the scene on the
screen, you won't feel you're looking at
a motion picture set."
Gaudio never touches the camera
himself. His operating cameraman does
that. But Gaudio directs the composi-
tion of every shot and its lighting.
In a corner of the set, director Die-
terle is quietly going over the scene
with Bette Davis, dressed in gray.
In this scene, she is desperate be-
cause she has come to Paris to get help
for Maximilian, stranded in Mexico.
Napoleon has refused to help her. She
is beginning to lose her mind. Now
Prince Metternich comes to see her.
Bette plays the scene. Her voice is
low, almost indistinct. We see her sit-
ting in a chair in semidarkness, her
white face distraught. In the drab ho-
tel room, rain falls against the window.
"Help me . . . help me, Prince Met-
ternich. They want to kill me," she
ANNOUNCEMENT
Photoplay regrets postponing until next month the gay and frolicsome account
of teen-age activities in Hollywood, "Young Fry Society." You'll find it in
JULY PHOTOPLAY
82
PHOTOPLAY
"Who, your Majesty?" Metternich
(Walter Kingsford) asks.
"The Evil One. He is trying to poison
me." Tears stream down her face.
"Help me to get to my husband."
It sounds so real that we forget she
is playing a scene. When it is over,
no one speaks. Everyone is moved.
In her dressing room, getting out of
her voluminous petticoats, Bette tells us
the surprising fact that her last scene
has not been difficult to play.
"That's because Dieterle has such an
amazing understanding of what I'm sup-
posed to do. He plans all my action
for me. I don't plan my scenes in ad-
vance. I let them work themselves out
on the set. If I went around thinking
about my insanity scenes, I'd go crazy.
"The really difficult thing for me,"
Bette says, "was learning those formal
speeches. I usually learn lines by se-
quence of thought and my lines follow
naturally. But for Carlotta, I could say
them only the way they were written."
w
HEN the Carlotta-Maximilian part of
the schedule was finished, the Juarez
part of the story began. The palaces
were torn down and Mexican sets built
in their place. When we visit stage 7
again, instead of Napoleon's council
chamber we see an El Paso saloon. In
an alcove, three men are sitting — Mon-
tares, leader of the Mexican reaction-
aries (Montagu Love), Uradi, vice-
president under Juarez (Joseph Calleia)
and a Creole, Le Marc (Louis Calhern) .
They are plotting to overthrow Juarez
and make Uradi president.
In the background, through the lat-
ticed screen behind the three actors, we
see Mexicans talking and drinking. We
notice that they are acting in panto-
mime. This is because their voices
would interfere with the words of the
three actors in the foreground. When
the scene is finished, the sound mixer
makes a recording of their voices and
laughter called a "wild track." This
will be added to the dialogue later.
Now they take a close-up of Louis
Calhern. He has to eat peanuts while
speaking his lines. But the peanuts are
too much for him. Ordinarily a one-
take actor, Calhern muffs his lines.
Dialogue director Irving Rapper goes
over them with him. By the time Cal-
hern has made a perfect take, he has
consumed a great many peanuts. Now
everyone on the set is eating peanuts.
I HE man replenishing the peanuts is
Pat Patterson, property man, who looks
a great deal like Spencer Tracy. Pat-
terson is kept busy fetching everything
needed from a huge property trailer al-
ways on the set. Its index lists items
as diverse as chicken coops, adhesive
plaster and vultures.
"No matter what's called for, we've
got to get it," Patterson says. "When
Dieterle wanted John Garfield as Diaz,
army leader, to eat Mexican corn in his
prison cell, we had to scout around for
it. Corn was out of season in Decem-
ber but there's no such word as 'can't'
in the movie industry. We finally lo-
cated the corn in the agricultural ex-
perimental station of the University of
California, at four dollars an ear, plus
postage. Garfield consumed at least a
dozen ears for one scene alone and it
took three days to shoot the scene.
"There were at least 10.000 separate
property items in this picture and at
least 1,000 hand props (those which can
be carried) like letters, documents and
lamps, some of which we had specially
made. The rest we got from our own
property department. We rented a Na-
poleonic coach which really belonged to
the Emperor Franz Joseph and was
brought over here by Eric von Stroheim
for "The Merry Widow.' "
I HE exterior scenes are shot on the
Warner Brothers' ranch at Calabasas in
the San Fernando Valley. Here plas-
terers, carpenters and scenic artists have
spent a month constructing a pictur-
esque Mexican city, stretching for many
acres, complete with solid stone build-
ings, carved wooden doors, cobbled
streets and a colored-domed Cathedral.
Hundreds of Mexicans throng the
streets in bright shawls, straw hats and
sandals — old men, fat women, little chil-
dren. You follow them into a huge
square, where on the steps of a build-
ing you see the living impersonation of
the Indian Juarez.
You wouldn't recognize Paul Muni.
You stare at his dark red make-up, his
broad cheekbones, his sleek black hair.
You notice his slightly stooped shoul-
ders, his high celluloid collar, his black
frock coat. He looks every inch like
the pictures of the stateman. His make-
up is so complicated that his stand-in
wears a rubber mask identically like
Muni's make-up. But, contrary to some
reports, Muni does not wear a mask.
"It's done with mirrors," he smiles.
HlUNI is playing one of the most dra-
matic scenes in the picture. Uradi, tak-
ing advantage of a loophole in the con-
stitution, has made himself president of
Mexico. Juarez comes alone and un-
armed to see him in his heavily guarded
headquarters. Crowds follow Juarez.
Uradi orders his soldiers to fire at him,
but one by one they lower their rifles.
Juarez turns to the crowd, saying:
"I have come here to confront Sen-
ator Uradi in the presence of you all
so that you yourselves may judge which
of us is honest. Command him to come
out."
Uradi is afraid. "I don't dare," he says
in his headquarters. "He has an awful
power over crowds."
Outside, the crowd keeps calling for
him. In desperation, Uradi comes out
and orders Juarez arrested. "Kill the
traitor!" someone cries. One of the
crowd fires a gun at him. Uradi falls
dead. Exultantly the crowd shouts
"Viva Juarez!"
Dieterle directs all the crowd scenes
himself. Standing by the camera above
the crowd, he tries to get a mounting
tempo. "Raise your fists like this — now
'Kill the traitor,' " he cries passionately.
But too many extras shout the lines at
once. Then he picks three men with
loud voices to say them.
Six times they rehearse until he is
satisfied and they are ready to shoot.
The Mexicans play the scene to the hilt.
"Viva Juarez!" they shout, throwing
their straw hats in the air.
They spend the afternoon taking close-
ups of Paul Muni addressing the crowd,
using "booster" lights to help out the
wayward sun.
So ends another day in the produc-
tion of "Juarez," a picture destined to
be one of the most important of the
new year, because it has something to
say and because it has actors, a direc-
tor and a cameraman who know how to
say it.
Next month you will attend the ''Dai-
lies," where you will see the scenes you
have watched being taken, you will go
into the cutting room and watch the
editor assembling the film, you will talk
to the composer and hear the orchestra
recording the score and you will be
present at the re-recording, where all
additional sounds are added to the dia-
logue. You will see for yourself how
a motion picture is put together in its
final form before it is shown in your
neighborhood theater. Watch for this
sidelight on movie making in July
Photoplay.
JUNE. 19 39
83
Boos and Bouquets
UNSIGHTLY HAIR
SPOILS YOUR CHARM
Rinse It Off This Easy Hay!
Everywhere you go, this year, your
re buw t" ahoy! With the new,
knee-length skirts, you must keep
your legs alluring . . . smooth . . . and
from hair. Remove ugly hair as
millions of women do — the easy and
convenient nf.kt way.
Ju-t Bpread nf.kt (like a cold cream)
on unwanted hair. ..then rin^c it off
with water. That's all you do. Gently,
NEET removes hair from your leg —
ami forearms, too.
N i i i l<'a\c~ your
skin smooth a- Bat*
in, and petal-soft.
\\oiil Itri-tly
Razor Stuhhle
There an- no sharp,
\\iry hair stuhs to
\ our Btockingfl
. . . no Bcraped <>r
roughened skin . . .
ami no danger <>f cuts when you use
NKl r. For lovely arms ana1 legs, with
no unsightly hair, gel m Et! At drug
and department -ton-.
Generous trial size at
all ten-cenl stores.
NEfT /■ ■:■-
Irpi hkr i
I'llc public WU tired of
wishy-wMhjf oomediee, ol frothy love
affaire, They wanted gruesome
iiui took (tic bogey twin- In ! •
w*aj the i. nt mentioned that
tin- two actors taking the major rules
might, because of their histrionic abil-
ity, be responsible for the success of the
films Only superb acting Can stand
tests like freakish clothes, unreal parts
and second showings. Since the fans
■ d to enjoy Bela and Boi i
much, the "thcys" decided to star them
both in a super-scarie. The result The
Son of Frankenstein."
There probably won't be an Academy
Award for the scene where the monster
pleads with unspoken touching pathos
to know why he is different from a real
man. But only genuine talent could
convey BO clearly without one word
spoken the emotions of the brute. Well,
perhaps the producers won't recognize
talent under the make-up but the folks
referred to as "the box office" do. May-
be the poor morons with their carefully
calculated "twelve-year-old-minds" are
smarter after all than the Hollywood
superintellects.
Miss Doris Mae Crowley,
Minneapolis, Minn.
BUT IT WAS A "BABY DOLL"
AM not in favor of stark realism. I
want my movies a cut above the ordi-
nary life I live. Therefore, I don't mind
if my heroine goes through a typhoon
or earthquake and emerges lovely and
well-groomed. I will also overlook
faked backgrounds. When my hero
walks through Piccadilly Circus, and
I'm reasonably sure he has never been
out of this country, I can put it all down
to production expediency.
But, when I see a beautifully directed,
sincerely performed story, such as "The
Citadel" and discover the young doctor
with a doll in his hands instead of a
new baby, I am jarred right out of my
enthusiastic mood. It was such a false
note. It was just a plain, everyday
hard-bodied doll, take it or leave it.
If they couldn't get a baby, why show
that particular scene at all? Other than
that — "The Citadel" deserves all the
credit it has been given.
Marjorie Murch.
Schenectady, N. Y.
(Continued from page 6)
200 °o AMERICAN
I'M on the warpath against all produc-
whose I.Q. is so low they can't
imagine the American Red Man as any-
thing but a war-painted, scalping sav-
age. Instead of scientists (the ghouls)
digging into the grave of grandfather
Indian to find out how he lived in order
to write it up in some musty book, pro-
ducers could gain everlasting fame by
taking a traveling studio and visiting the
Red Man's grandchildren. Ask him to
go back a hundred or more years into
the legends, ceremonials and symbolism
and record them for future generations.
Their legends are more romantic and
mystifying than any story coming out
of Hollywood. Their code of honor and
punishment we would do well to copy.
The child mimicking Indian dancing
and symbolism has no time for "Dead
End" tricks. Hail to this Lochinvar who
can rescue from oblivion the only real
American!
Mrs. Violet Thundercloud,
Chicago, Illinois.
P.S. — I am a paleface.
HUMANIZING HEDY
HOW that she is on the tip of America's
tongue, what do you say we talk a little
about Hedy Lamarr?
For one thing, there's the way she's
being handled in Hollywood. I was
reading that while she was working on
her new picture, the studio discovered
that if she spoke too much, her aura of
mystery and glamour was lost and it
was decided to hold her lines down to
a minimum in the future.
Just how long do they suppose they
can keep that up without having fifty
million once gaga males yawning
in her screen face? Stars such as
Myrna Loy retain their popularity be-
cause they're like mild wine; they but
tingle the blood nicely and leave a
pleasant memory. A too heavily glamor-
ized Lamarr makes for a "heady" drink
that prompts one to wonder groggily
what he had seen in it all the time.
I'm not one to view with alarm, but
let me point out the classic example of
Marlene Dietrich. There are coinci-
dences, too, in both stars' careers. Each
made a foreign picture which served to
introduce her to the American people.
NEET
Just Rinse Off
Unsightly Hair
THE CUSTOMER IS
ALWAYS RIGHT
I READ Photoplay
and think it is espe-
cially good. It lacks
only one thing and
that is a column for
"teens." Us "teensters"
want to know how to
overcome certain
problems, a few beauty
hints, manners when
going out, etc. I am
quite sure many "teen-
sters" will agree with
me.
A Constant Reader,
Lansing, Michigan.
7ii next "i o n t h ' s
Photoplay a sninrt (ir-
■ nstcr" will find
lots of /lints on what (O
dn when your best
beau takes you to the
graduation prom — in
"Youny Fry Society."
THE COWBOY AND THE LADY
The missing links in
PHOTOPLAY'S picture
story appearing on
pages 40 and 41 are:
1. Three Comrades
1 1. Blondie
2. Jesse James
12. One in a Million
3. Cowboy from Brooklyn
13. Kentucky Moonshine
4. Oklahoma Kid
14. Tail Spin
5. Valley of the Giants
15. Love, Honor and Behave
6. Too Hot to Handle
1 6. Toy Wife
7. Gold Is Where You Find
It 17. Shining Hour
8. Gateway
18. Shopworn Angel
9. Just Around the Corner
19. Mad Miss Manton, The
10. Brother Rat
20. Idiot's Delight
The first made-in-Hollywood efforts of
both had closely allied localities which
had loaned their names to the pictures'
titles: "Morocco" — "Algiers."
In my opinion Hedy Lamarr has ex-
cellent possibilities as a star, but she
must be more humanized by her studio
in order to make the appreciativeness
of the average movie fan last longer
than the proverbial snowball in Hades.
E. Paruka,
Chicago, Illinois.
SOMETHING NEW AND DIFFERENT!
lOR just one year I'd like to see things
made hard for the producers out Holly-
wood way. I vote a ban on all "clas-
sics," "remakes" and Broadway plays as
subjects for the directors to get busy on.
Then I'd like to look in on the writers
on the studio payrolls burning the mid-
night oil trying to think up completely
original plots, just to find out if there is
such a thing as an honest-to-goodness
writer among the highly paid literary
lights of the movie colony. They've been
getting too much in the habit, lately, of
dusting off books like "Huckleberry
Finn," or "The Little Princess" and dig-
ging up old films, or paying fabulous
sums for hits from the Great White
Way. I yearn for a surprise dish to
vary the same old diet of strawberry
shortcake.
Helen Cummings,
Salisbury, North Carolina
EAT. DRINK AND BE MERRY. ETC.
ErROL FLYNN reminds me of the
character in "Holiday" — the one who
believed that a job and money were not
more important than enjoying life while
young enough to do so.
I'll admit that he's a strange individ-
ual and that his convictions are not of
the conservative type or apt to strike
most people as being sensible, but I ad-
mire him for standing by his beliefs.
He is a very fine actor, but I have the
feeling he could do more if he would
get down to it. In "The Sisters" and
"Dawn Patrol" he came nearer real
characterization than ever before. I
should like to see him go deeply into
some good roles, leaving the spectacular
physical exhibitions alone, although he
has no equal in such
pictures and has
brought more color,
excitement and con-
viction to his swash-
buckling roles than
any other actor.
Ellen Barkdull,
Philadelphia, Pa.
HAIL, CESAR
IF ever there was a
man who could be
called a "charming"
villain, it's Cesar Rom-
ero. He plays the part
with dash, humor and
deviltry that tickles the
audience. What the
screen needs is a few
more humorous rascals.
I, for one, am glad
Romero never wins the
gal (though I bet that
smile of his draws
plenty of them in real
life).
Kathleen Hayes,
Valier, Montana
84
PHOTOPLAY
Beaut/ through Surgery
Continued from page 25)
to membership in several of oui well-
thought-of medical societies.
Many highly regarded physicians will
admit, privately, that they consider this
point of view obsolete: they think that
a woman who really suffers from pos-
session of an ugly nose is as worthy of
the best surgical attention as one whose
appearance has been ruined by an ac-
cidental scar. Yet conservative surgeons
will operate in the second case, and not
in the first!
The result of this is that many of the
most skillful plastic surgeons refuse to
operate for such frivolous reasons as
beauty, and that women who insist on
cosmetic surgery are denied their help.
Some of the cosmetic surgeons are
highly skilled, and probably as well
equipped to operate as their more
orthodox rivals. Others are outright
quacks. And it is very hard for a
layman to distinguish between the two.
Seventy-five per cent of all beauty
operations, say the doctors, are per-
formed to remove the signs of age. But
there are dozens of other operations
available to a woman who is dissatisfied
with her appearance.
IMAGINE the entirely hypothetical case
of a youngster who arrives in Holly-
wood with a comfortable bank account,
a homely face and an insatiable desire
to become beautiful, nonetheless. She
is willing to spend at least $6,000 and
six months of her life in becoming a
beauty.
Look her over: she has a thick, stocky
waist and is fifteen pounds overweight,
from the camera's exacting viewpoint.
Her nose is an undistinguished hump.
Her eyes are narrow slits. Her mouth
is too wide, and the lips are too coarse.
Her skin shows signs of exposure and
neglect. In spite of her youth, there is
a suggestion of a double chin. Her chin
itself tends to recede. Her eyelashes are
short and skimpy. She wears glasses —
and needs them. Her teeth are ugly and
uneven. Her ears protrude. But she
wants to be in pictures!
Very well: her first visit will be to
the dentist, who will probably advise
her to have her own teeth filed down so
he can attach beautiful, gleaming por-
celain caps. (This will cost her about
$1,000 and will take a month or so.)
Next, she must take up the problem of
reducing and adopt a stringent diet.
Then, she will make her first call on the
cosmetic surgeon.
I HE first feature which he will attack
will be that nose. The doctor and the
patient discuss the general outlines of
the nose-to-be. If it is an ugly hump
or hook type, the bridge must be
broken; if only the tip needs changing,
no fracture is essential.
Little Jane Doe is given a local
anaesthetic and the surgeon sets to
work, performing all the changes from
the inside of the nose, so that no scars
will ever show, but — since he has caused
a hemorrhage — the young lady will find
herself supplied with two of the finest
black eyes she ever saw. She will
spend a few days in a hospital recover-
ing, and then take the scaffolding of
bandages away to admire her beauti-
ful new nose, which the surgeon-sculp-
tor has designed for her.
Next — the chin. Some unfortunate
women with receding chins also have
buckteeth: in these cases, the opera-
tion must be followed by a straighten-
ing of the upper teeth to make them
point down, instead of out, and a patient
may have to wear braces for a year.
But our little aspirant to beauty has
simply an Andy Gump chin, with no
complicating circumstances. When she
has recovered from her nose complaint,
she returns to the plastic surgeon's table
and is again given a local anaesthetic.
This time he attacks the problem from
the inside of the mouth: an incision is
made between the lower teeth and the
lower lip. If her trouble had been a
protruding jaw, he would at this point
have removed some of her jaw bone.
Since the opposite is the case, he in-
serts into the chin a piece of ivory, cut
to the needed shape, and moors it firm-
ly into place.
The recovery from this operation will
not take long and, during it, odd jobs
of face-changing can be performed.
The widening of the eyes is an opera-
tion which increases the range of vision
and has a certain optical value.
Little Jane Doe, in search of beauty,
can have her eyes widened in five min-
utes in the doctor's consulting-room,
and will have fully recovered, with luck,
in about a week. At the outside corner
of the eyes, small slits are made on
both the outer and inner edges. While
this operation is in progress, the doctor
may tell Miss Doe about the quite
similar trick worked out to correct the
shape of eyes that are too round: the
outer edges, in this case, are sutured
together, so that they heal closed, and
an oval-shaped eye results.
Another common eye-operation cor-
rects the "sleepy" effect of drooping
lids: the eyelid is cut along the top of
the eyeball and some of its skin re-
moved, a simple task.
By this time Jane Doe is beginning
to shape up nicely: her greatest worry
now is narrowing her mouth.
This is another consulting-room
operation, which should not cut too
heavily into her day. The doctor gives
her a local anaesthetic and, when this
has taken effect, makes two incisions
on the inside of the mouth, one along
the upper and one along the lower lip.
Tissue is removed, if necessary, and the
coarse lips made finer. At the same
time, the edges of the mouth are sutured
together, narrowing it. (If Miss Doe had
wanted a larger mouth than she had,
slits would have been made at the
edges, as they were on her eyes. And
if she had asked for a Cupid's bow,
these would have been slanted upwards,
to correct their tendency to droop.)
She is lucky in having her lips too
full, rather than too narrow. The second
condition can be corrected, but healing
requires rather more fuss and time for
the tissue is stretched, after the lip has
been opened up, and scar tissue about
an eighth of an inch wide is allowed to
grow. Similarly, upper lips that are too
short can be lengthened by dropping the
lip down from the nose.
WHILE all these changes were being
made, our young woman has presum-
ably been losing weight, besides. In
the past some very dangerous diets
have been devised: perhaps the worst
one (which peeled off twelve pounds
in four days) limited the ladies to a
diet of orange juice and required that
they take four ounces of castor oil at
bed time. The skimmed milk and bana-
na diet was another dangerous one.
Today, Hollywood women have
learned not to break down their health
while they lose weight. Those whose
contracts require that they shall weigh
only so much at a certain date some-
times take half a dozen hot paraffin
baths at the Elizabeth Arden Holly-
ail Exquisite Figure..
The C^/l/QjUt^
BRASSIERE
created by
RENEE of HOLLYWOOD
A thrilling revelation from glam-
orous Hollywood stars! Hollywood
decrees . . .'Breasts must be high,
round and separated... yet firmly and
naturally supported." Admiring eyes
acknowledge your success when you
wear Renee's Tobv Wing Brassiere.
See it todav at your lingerie counter!
For a free autographed photograph of
Toby Wing mail your name, address
and name of your favorite brassiere
shop to Renee of Hollywood, 743
Santee Street. Los Angeles. California
Designed and made for lovely
Toby Wing. . .this authentic
Hollywood fashion is made of
exquisite pre-tested satins, lace
and satin lastex, with adjustable
shoulder straps and Flatour
fastener. It's popularly priced.
JUNE, 1939
85
■WK,
**•»**
YOL' need not be an athlete,
however, to appreciate
what a blessing Tampax is to all classes of
women— housewives, travelers, students, busi-
ness girls. The Tampax principle of internal
absorption, long known to doctors, has already
led women by the million to throw off old re-
strictions and adopt this new method of
monthly sanitary protection.
Tampax was perfected by a doctor; so in-
geniously made that you are not even conscious
of wearing it. Only pure, long-fiber surgical
cotton is used in Tampax. Also note the sealed
hygienic applicator in which Tampax comes to
you. Using this, your hands do not even touch
the Tampax!
No bulking, no wrinkling with Tampax,
even in swim suits or sheerest formals. No dis-
posal problems. Two sizes: Regular Tampax
and Junior Tampax. At drug stores; notion
counters. Introductory box, 20<l. Average
month's supply, 35c. As
much as 25 Ce saved by
purchasing large econ-
omy package of forty.
Accepted for adierliiing hy
the lourrml of the Ameri-
can \l< dn. at Association
TAMPAX IN' ORPORATTD
New llruntv
□ Send Tampax booklet with diaxratm-FRI I
□ Send tnirnductet
c.kcdhcte Q Tampax Li Junint Tampax
Aide,,,
wood salon: in these, the patient ii
I Willi • hot pat
wliu I if bundled into
• d high with
blankets and then permitted to
ior from twenty t" forty-five min-
ilh, one may
I pounds — for the time I ■
But me i in
orthodox medicine for help in this prob-
probably Jane Doe will follow
their example. Tiny may resort to the
I in Santa Barbara for
ks and be put on a scientifi-
cally suitable diet for their particular
lisle is one Cottage
Hospital alumna. Joan Crawford is an-
other who got her diet from her phy-
sician: she doesn't diet now, he says,
but her friends have noticed that her
luncheon is the usual lettuce leaf and
that her breakfast consists of "black
coffee and a gardenia," as one of them
put it. "Joan sniffs the gardenia."
Our Miss Doe can take off her fif-
teen pounds by a physician's diet, but
this may not solve the problem of that
large waist of hers: for this, exercise
and massage are indicated.
But if — as may be the case — her face
has a sagging look and her breasts are
not firm, back to the plastic surgeon.
SUPPOSE that our Miss Doe thinks that
her twenty-two years are showing: she
will not be, by any means, the first girl
of her age to have a face-lift. What
comes after the face-lift depends on
which surgeon she patronizes: some
recommend following an operation with
a light skin peel. Most beauty surgeons,
however, are opposed to peeling.
A complete face-lift consists of two
! operations: the "operation," which
j draws up the skin of the face and neck,
and the eye-lift, which does away with
crow's feet and wrinkles around the
eyes. Either can be performed in an
hour or less, and the period of recovery
is less than three weeks.
Slight scars remain after these opera-
tions: tiny stitches along the lower lid
are taken for the eye-lift, and these
are easily concealed under the lashes.
But the "face-lift" requires lifting the
skin around the edges of the ear and
leaves a slight scar in the hair line at
the side-front. Of this you may be
reasonably sure: any actress who wears
her hair combed to the top of her head
has not had it done!
Miss Doe may have her face lifted
either in the doctor's office or in a hos-
pital. A few days later, she will return
to have the eye-lift. At the end of two
or three weeks, when the stitches are
out, she can face the world — or take up
the question of a peel.
I EELING — sometimes called shelling —
the skin removes the top layers and ex-
poses the delicate, fresh skin under-
neath. Just how dangerous it is, de-
pends largely on the formula used for
peeling, and on the skin itself. Miss
Doe, if she is wise, will go to her own
doctor for an "allergy" test of the chem-
icals to be used in the formula: she will
discover whether she possesses any
idiosyncrasy which might make her re-
act badly to the products used.
One of Hollywood's best-known ex-
is Irene Hobson, a silent picture
actress herself, who now, at seventy,
runs an expensive rejuvenating clinic
She includes, besides the peel, reducing
(In is. exercise, a course in a new out-
look on life.
Miss Doc, if she comes to terms with
Irene, will now disappear from the
world for a month, during which time
she will live at the Hobson house. Her
will be treated with a special oil
and covered with a mask to prevent
blisters. When the old skin has been
sloughed off, and the mask removed, the
baby's skin underneath will be fed and
nurtured with oils until it is strong
enough to stand the outside atmosphere.
If our Miss Doe had not already had
a reducing course and a face-lift
could get both of these at Irene's. The
"central face-lift" used here is not, how-
surgical: it shrinks the face by a
lotion made from tree barks. Patients
are also taught how to walk, breathe,
eat properly and develop a cheerful
frame of mind. Irene herself, at seventy,
has snowy white hair and a young face.
One of the newer peeling methods is
that used by Gloria Bristol, who has
branches in both New York and Holly-
wood. Celebrities have come to her for
the removal of freckles. And it was
she, she says, who peeled the face of
the Duke of Windsor at Cannes, and re-
lieved the bags under his eyes.
The Bristol treatment requires a week
or ten days out of Miss Doe's life: after
her allergy tests, she appears at the
salon and her face is washed with col-
loidal sulphur soap and swabbed with
a mineral salt solution. On the second
day the same solution, in much more
concentrated form, is applied: the face,
at this stage, swells and turns very red.
Later it turns brown and gives the ef-
fect of a very bad sunburn. For three
days the patient must remain indoors
and she will probably prefer not to see
her family or friends; on the fourth day
the mask begins to crack and after one
or two days more it is peeled off. Twice
a week thereafter, for five weeks, the
patient is given plastic masks of herbs
and honey. (Such shelling treatments
may cost Miss Doe $500 or more.)
OURELY now, you think. Miss Doe is
ready for the casting agency. She has
beautiful, gleaming teeth, a lovely nose,
wide, appealing eyes, a firm, baby skin
and a glorious figure. But has she?
Many girls of today suffer from sag-
ging breasts, and this condition might
still interfere with her career. Very
well, then. Back to the plastic surgeon,
who will re-shape the breasts, under
local anaesthetic, to accord with the pa-
tient's ideal. There are three degrees
of uplift possible after breast operations
today, and the only scar, in most cases,
is a slight one.
These operations are only mildly pop-
ular in Hollywood. You probably read
of an heiress who nearly died at the
birth of her child; it is said that her ex-
treme illness was caused by the fact
that her breasts had been lifted in such
a way that the milk glands were out of
place. This, however, is unusual.
If Miss Doe still suffers from deficien-
cies of figure, there is little that can be
done for her: fat stomachs have been
often corrected by surgery, but this
drastic method is needed only for much
older women, who have allowed their
figures to get shockingly out of shape.
And as for thick legs — nothing that any-
body can do will correct them. One
Hollywood aspirant permitted a surgeon
to open up her legs, along the stocking
seam, and to insert electric wires which
burned the flesh away. It returned, how-
ever.
But our Miss Doe's ears still pro-
trude: a few months ago, this would not
have given her pause. But now, with
the hair being worn high, she may wish
to have them corrected, provided her
face-lifting scars do not rule out this
type of hair-do, anyway. Until very
recently, ear operations were performed
almost entirely on men. This is a very
simple cosmetic surgeon's job, and
leaves a scar only where the ear joins
the head at the back.
In her innumerable trips to her doc-
tor's office, Miss Doe has encountered a
surprising number of men patients. In
Hollywood today, more men are having
their ears and noses changed than
women; in New York, the percentage
remains about seventy -five per cent of
women to twenty-five per cent of men,
but this shows a marked increase over
a year or so ago.
Miss Doe is now nearly through with
her beautification campaign. She has,
still, however, to see her oculist.
Perhaps he will be able to correct her
eye troubles by exercises: some forms
of astigmatism yield to this today. Per-
haps not. If he tells her that she must
wear glasses, she has two courses open
to her. She can wear the dark glasses,
which many women wear out-of-doors
in Hollywood anyway, and have them
ground to fit her eyes. Or she can ask
for "contact" glasses. These are in-
visible to the naked eye, and may be
kept on for some hours at a time.
OHE has already spent from $6,000 to
$11,000 making herself beautiful: what
are the results going to be? That de-
pends, almost entirely, on her talent,
screen personality, willingness to work
and native intelligence. None of these
things can be bought by even the best-
heeled young woman eager to storm the
studios. And they are the most im-
portant elements of all.
For many young girls have run the
gamut of the beautification experts, and
got nowhere.
Plenty of girls, as beautiful by birth
as any doctor could make them, have
found that waiting on tables was all that
Hollywood would offer them. Yet
youngsters eager to make the grade con-
tinue to bring most of the business into
the cosmetic surgeons' offices.
Will actresses and actors resort to
artifice to keep themselves in the spot-
light?
Perhaps they will. Some actresses of
an earlier age did so, and with more
terrible results than today's crop are
apt to suffer. A former Parisian beauty,
listed in the casting agencies today,
plays the parts of hags and witches; she
was a woman who resorted to paraffin
to regain her beauty and, when it
lumped under the skin, she came to the
studios to make a living out of her
ugliness! Other women have tried to
stay young with far less disastrous re-
sults, but their hands still give them
away, and no plastic surgeon knows of
any operation which will restore youth
to the aged hands.
And if Hollywood stars should insist,
in coming years, on retaining their
youthfulness, at whatever cost, they will
deprive the colony of some of the most
charming characters of any town: the
snowy-haired old ladies whose faces
show wrinkles from sixty or seventy
years of rich, wise living. The great
Italian actress, Duse, was a frank sev-
enty-odd when she toured America to
packed houses. Marie Dressier did not
have her face lifted, and yet death
caught her at the very crest of her ca-
reer.
If Hollywood insists on looking young,
the facilities are there. But youth, with-
out talent, is a cheap commodity. And
talent, with or without youth, is some-
thing every producer is eager to buy.
//on- much do you really know about make-up? // your face is too round, too long or too square do you know how to
apply rouge and powder to simulate (he desired shape? If you don't, you will soon learn — for the make-up men of Hol-
lywood, the boyi who ran — and hare — transformed plaii to beautiful ones, toill be here next month to give you the
same valuable tips they hare aiven the stars. Watch for' MIRACLE MEN AT WORK in July PHOTOPLAY.
Stall
86
PHOTOPLAY
How Well Do You Know Your Hollywood?
Judith Barrett in Paramount's "The
Gracie Allen Murder Case"
GRADE yourself five pcir^: for
-.-. one you guess right. If
you get sixty or less, you don't
keep up with Hollywood. If your score
Is eighty, you're doing quite well; and if
you have a score of one hundred, you
know as much as PHOTOPLAY. Check
up on page 91.
1. The play in which this famous pair
will star will be seen on Broadway this
summer. Its title is "My Dear Children":
Mr. and Mrs. Fred Asiaiie
Mr. and Mis. John Bairymore
Mr. and Mrs. Fredric March
Mr. and Mrs. Melvyn Douglas
2. This columnist is also a motion-pic-
ture produce-.
Mark Hellinger Louis Sobol
Louella Parsons Ed Sullivan
3. She was elected "America's
Oomph Girl'' by a committee of 25
men-about-town :
Carole Lombard
Dorothy Lamour
Alice Faye
Ann Sheridan
4. Lew A> res was once married to:
Andrea Leeds Lola Lane
Adrienne Ames Judith Barrett
5. Only one of these actresses ':
ried:
Patricia Morison Rosalind Russell
Fay Bainter Anita Louise
6. Although she announced he- re-
tirement from the screen, this a :
will soon be seen in another picture,
Memory of Lc - -
Kay Francis Merle Oberon
Barbara Stanwyck Arleen Whelan
7. This star recently celebrated both
his 25th wedding anniversary and his
25th anniversary as an actor:
C. Aubrey Smith Arthur Treacher
Frank Morgan Edward G. Robinson
8. Three of these stars are married
to doctors:
Claudette Colbert Irene Dunne
Hedy Lamarr Evelyn Knapp
9. This picture was kept under police
guard during its production In order to
maintain absolute secrecy:
Wuthering Heights
Confessions o/ a Nazi Spy
It Could Happen to You
Sons of Liberty
10. She is playing in the Theater
Guild Production, "The Philadelphia
Story" on Broadway:
Katharine Hepburn Danielle Darrieuz
Billie Burke Joan Crawford
I I. This young actress was discovered
selling candy in a small shop in
Hollywood:
Lana Turner Ann Rutherford
Virginia Field Ellen Drew
12. Two of these actors are the
fathers of twin boys:
Dick Powell Richard Dix
Bing Crosby Harold Lloyd
13. This world famous personality will
soon appear in her first motion p::-.r
"Hotel for Worre-
Eleanor Roosevelt
Brenda Frazier
Elsa Maxwell
Irene Castle
14. When this actress was a child, she
acted in several pictures with Mae Mur-
ray, who wanted to adopt her:
Madge Evans
Miriam Hopkins
Loretta Young
Carole Lombard
15. Ten years ago this actor made
a hit portraying the Cisco Kid in the
- rsf tjtdoor all-talking picture, "In Old
Arizona"; he is now playing the same
character in its sequel, "The Return of
the Cisco Kid":
Ramon Novarro
Warner Baxter
Leo Carrillo
Cary Grant
16. Three of these stars are ex-chorus
girls:
Marion Davies Joan Crawford
Jean Parker Jeanette MacDonald
17. This actor was a plumber's ap-
prentice when he was o^fe'ed a part in
a stage play that led him to Hollywood:
Vincenf Price
Frankie Thomas
Leo Gorcey
Alan Marshal
18. Because of his outstanding per-
formance in "Three Smart Girls Grow
Up," he was awarded a new long-term
contrac:
floberf Cummings Tom Brown
Louis Hayward Randolph Scott
19. Two of these actors were once
cc ^ercial models:
Lewis Stone Fredric March
Neil Hamilton Douglas Fairbanks. Jr.
20. He is termed "Czar c:
Movies :
Jack Warner Darryl Zcrnucir
Will Hays Louis B. Mayer
In the selection of
wedding papers, it
is so important to
be correct. For this
social world is prone
to look with a criti-
cal eye upon the de-
tails that surround
the ceremony. Lin-
weave Wedding
Papers conform to
the amenities of an
informed social
world. You will do
well to choose them.
Rochelle Hcdcox. Star
«/ the BepuUie Picture,
"Pride o/ the .Voc»"
WEDDING PAPERS
AT YOUR E.YGR AVER'S, ST AT /OXER'S, PRI.X TE R'S
Hollywood's celebrities have helped to make the
Savoy-Plaza's guest register an album of distin-
guished autographs. Stars, writers, directors,
producers prefer this hotel as their New York
home because of its service for those who make
Air-Conditioned
Rooms Available
Subway direct to the
World's Fair at the door.
Henry A. Rost, Monaging 7
George Suler, Resident Manager
m an art of living.
f
Plan
now to make
the Savoy-Plaza
your headquarters
during your visit
to the New York
World's Fair
1939
OVERLOOKING CENTRAL PARK • FIFTH AVE. 58th TO SVtfc STS. • NEW YORK
JUNE, 1939
87
3 Reasons Why
Women Choose
FIBS
THE KOTEX TAMPON
The Dilemma of Lamarr
Trie Invisible Way! Fib-., the Kates Tampon
with n nally solves the
problem ol davs when less protection is
needed. More comfortable, more secure,
easier to u products merit your
confidence.
Quilting — so Important! Special "Quilting"
keeps Fibs from expanding abnormally in
use — keeps the soft cotton sides in place-
increasing comfort and lessening the possibil-
ities of injury to delicate tissues. The rounded
top makes Fibs easy to insert.
Yes, Fibs Cost less! . . . Only 25c for a full
dozen. Try them next time. Mail coupon
now for trial supply free.
vgfe
■
■
■
-
A**urlAtloti
• T-* - M»rk. fU*. U. 8 '
FREE!
nn^-R..om i
919 N. Michigan Ave , Chicago, 111.
Pleaw tend mc FRIF. mil supply of FIDS, the
Tampon, mailed in J lain package.
Simt
Suit.
NEWImiracle relief
BUNIONS
rr*ntf at dlMOmy T ln*t»ntljr relit »r*
ttnm preuurmti = «-n«Uiv*" Bpot lfiTmur
NEW &ufa\ Vi I
D^Scholls lino pad.
I remedy for saving
Mllhorn which they
didn't employ. They stopiicd production
made
chengea In thi wing
despei .iti • Itched di-
Mr. von E want his
way, with a big sigh of relief. Mr.
Borzage look over, hit lingc;
And all the time Spencer Tracy, in a
• role, did the best he could.
For the Brat time, however, Spencer's
beet was not enough.
When I Take This Woman" was fin-
ally completed, the executives looked
at it. returned grimly to their offices,
itched countless memorandums
marked "Confidential and Urgent," and
at last decided that it was just no dice.
"I Take This Woman" was put on the
shelf, temporarily at least, and. if it
Isn't resurrected and partly remade later
on. the hundreds of thousands of dol-
lars it cost will be noted in red in a
bookkeeping column neatly marked
"Overhead," or "Further Grooming of
Hedy Lamarr."
It's impossible to say why Hedy's pic-
ture was put aside in this manner. Pic-
tures have been shelved before, but not
often. It may have been decided that
we, the public, who have made Metro
a very rich company by our patronage,
deserved something better than to have
a mediocre film presented to us under
a smoke screen of provocative adver-
tising. It may have been Metro's execu-
tives have pride as producers and were
unwilling to fail where Walter Wanger
so brilliantly succeeded.
Many of the most astute producers,
directors, writers and stars agree in
their analysis of Hedy's brief American
career. "In 'Algiers,' " these experts
will tell you, "Hedy principally had to
gaze into the camera with smoldering
eyes. She was the lovely, slumberous
pivot around whom the story revolved.
She was the woman for whom men
plotted and fought. And she didn't have
to do anything to make this action on
the men's part plausible; her looks took
care of that for her.
"But," they continue, warming up to
their premise, "in I Take This Woman'
Hedy got no such break. She played
a far more practical and active char-
acter. She had many lines to read.
Naturally, then, Metro didn't get the
same quality from her that Wagner
finagled in 'Algiers.' And what they
did get instead, obviously wouldn't do."
HEDY herself is, naturally, of the utmost
importance in this strange situation.
Th:>se who know her like her tremen-
dously. But even those who have the
greatest praise for her personally, dis-
agree violently about her chances for
continued screen success.
Then there are the girls who have
ted at Hedy's costume fittings.
They insist she lacks the energy a mo-
tion-picture career demands. They
doubt she can "work like a horse, the
way stars have to." Never, those girls
explain, have they seen Hedy when she
hasn't complained she was tired. And
they admit it is hopeless to expect her
to stand for fittings the way other
I tars do.
Hedy dieted to get down to the pro-
portions required on the American
M-ri en. In her European film. "Ecstasy,"
she was much heavier. Observe her
carefully and you will see her very
bones design her for a girl bigger by
far than she is at present. And this
wouldn't be the first time an actress has
(Continued from page 28)
impaired her health and her energy by
strenuous dieting.
It would be unfair, however, to quote
this incident and omit the thing S
Eilers says of Hedy. Sally, who knows
Hedy well, will tell you:
"She is realistic, a down-to-earth
European. She's alert. She's acquisi-
tive. Why. I have only to serve a dish
that pleases her and she pounces on
my cook for the recipe. Just watch her,
that's all I have to say! Her eyes may
be slumberous but her soul is practical.
She'll work! She'll learn all the things
you have to know in this business — and
more besides!"
Sally, who always has seen Holly-
wood and its people with keen percep-
Cover Fashion Note: metal
buttons with acorn motif
high light Bette Davis'
frock of fuchsia sheer
woolen. The neckline band
closes with a double knot
and ends in long streamers.
From I. Magnin, Los Angeles
tion, unquestionably is Hedy's ardent
champion. But, if you challenge her
with the fact that Hedy stands in one
darn difficult spot today, she will admit
this is true.
"It would," she agrees "be difficult
even for a well-established star to fol-
low a success like 'Algiers' without los-
ing ground."
That is very true. It's important, too,
to remember that a well-established star
would have many more points on her
side. Cameramen would have discov-
ered exactly how to light and photo-
graph her. Directors would know ex-
actly how to evoke her very best work
Producers would know exactly what
she could do and what she couldn't do
and be guided accordingly in any story
they assigned her. Also, the star her-
self would have learned one hundred
trifling things, individually and accum-
ulatively important, in her years of
experience.
Hedy Lamarr has none of these valu-
able things. She's a stranger to the
producers, writers, directors and pho-
tographers who guide her destiny,
It might very well be that it would
have been much better for Hedy and
for her producers if she never had made
"Algiers." If. instead, the studio ex-
perts had continued grooming her as
they have been doing since she arrived
in Hollywood in 1937, and if she then
had been given lesser roles in which she
corld feel her way and stake her claim
to a place on the screen, gradually and
surely.
It's too late for Metro to pursue any
such conservative course now. And it's
doubtful that Hedy would tolerate it.
She is none too pleased by what has
transpired since she returned to the
home field at dear old Culver. In fact,
it's whispered that members of the press
are being kept away from her, as they
most definitely are, because she isn't
at all inhibited about announcing that
Metro doesn't know what to do with
her. Also, that she doesn't know what
to do with Metro.
For some time now the Culver City
studios have resounded with Lamarr
conferences. Following the sensational
decision to put aside her film, M-G-
M made plans to co-star her with
Robert Taylor in "Lady of the Tropics."
Hedy is as fortunate to work with
Robert Taylor as she should have been
to work with Spencer Tracy. Both Bob
and Spence, if need be, are capable of
holding the box-office fort alone. They
are the co-starring stuff that women
stars ask for — and seldom get.
Remember how Norma Shearer, re-
turning to the screen in "Marie An-
toinette," after her last retirement, for-
tified herself with that current box-of-
fice magnet, Tyrone Power. . . .
Claudette Colbert shops for her co-
star or leading man as carefully as she
shops for stories. . . .
I HE finest plans continue to be made
for Hedy. unquestionably. Meantime,
while waiting to see what the studio
plans for her. Hedy has been occupying
herself with romance. She commented
upon Gene Markey's cosmopolitan
charm, incidentally, before she knew
him. And it was Joan Bennett, hear-
ing what Hedy had said, who told her
ex-husband about it one afternoon
when he came over, as usual, to see
their little daughter, Melinda.
That was the beginning of the ro-
mance which culminated in marriage at
Mexicali a few weeks ago. For let any
man know a woman is intrigued by him
and immediately he is disposed towards
her too — for her superb taste and dis-
cernment, if for nothing else. And
there are, Heaven knows, any number
of other things to be chalked up for
Hedy. Black hair. Melting eyes. A
mouth like a heavy poppy. And her
warm promise in "Algiers."
They're still talking about Hedy at
any rate, though there is a different
flavor to the things they say, though
there now is speculation even in those
voices that used to take on a strange
green tinge at the mention of her name.
Undoubtedly, that famous Hollywood
hostess who discarded the idea of giving
a Suppressed Desire party could give it
safely now. She abandoned the idea
because, as she said, "It would have no
variety and. therefore, it would be no
fun. For every girl who was honest
about whom or what she wanted to be
would come in a black wig and looking
as much as possible like Hedy Lamarr!"
Hollywood suddenly appears to re-
member that just as one swallow doesn't
make a summer, so one picture doesn't
make a star. All of which means that
Hedy's future, like so many things to-
day, is in the crowded lap of the gods.
18
PHOTOPLAY
The Shadow Stage
(Continued jrom page 59)
THE HOUND OF THE BASKERVILLES-
20th Century-Fox
BASIL RATHBONE plays Sherlock
Holmes as if he were bored with the
character. There is disappointment in
this dour picture of one of Conan
Doyle's better crime puzzles; it drags at
the beginning, works up a pretty good
suspense, and then comes to climax
without letting the public in on Sher-
lock's methods. Simply, he just discov-
ers all. Everybody lives under the
shadow of an old legend, particularly
Richard Greene, who plays the squire.
Wendy Barrie supplies romance. Nigel
Bruce is Watson.
D
SUDDEN MONEY-Paramount
ON'T go out of your way to catch this
little number. It deals with a family
who wins a sweepstakes and goes ber-
serk with the winnings. Charles Rug-
gles endeavors to resurrect his old
college orchestra; wife Marjorie Ram-
beau gets swindled when she tries to
become a great artist, and the whole
family manages to squander the money.
Broderick Crawford, Billy Lee and
Evelyn Keyes do their part.
WITHIN THE LAW-M-GM
IT'S a story of vengeance, with a good
new twist in it. Too bad technique and
cast are not better. The idea is that
Ruth Hussey gets sent to prison for a
crime she didn't commit, and while
there she studies law. Then she is re-
leased, gets accomplices, and sets about
revenging herself against Samuel Hinds
by doing mean things for which the po-
lice can't prosecute her, since they are
within the law. Part of her campaign
is marrying Hind's son, Tom Neal, but
things go awry when she falls in love
with him. Performances throughout are
adequate, but never inspired.
0
I'M FROM MISSOURI-Paramount
NCE again you must decide how much
you like Bob Burns before you decide
whether to see this picture. You may
not care if the Missouri mule is re-
placed by the tractor, but Burns does,
and goes all the way to England in de-
fense of the animal. Gladys George, as
Bob's wife, tries to marry her sister off
to some good Englishman, and it's all
done with much slapstick. Bill Henry
and Gene Lockhart do pretty good jobs
in their small roles. Burns' homely
humor, in this setting, wears thin.
THEY MADE HER A SPY-RKO-Radio
HOLLYWOOD is certainly hepped up
over the recent spy scares. Here's one
of the inevitable results. The story is
what you expect it to be: Sally Eiler's
brother invents a new shell and is
killed, so she joins the intelligence serv-
ice and becomes a member of a spy
ring. So does reporter Allan Lane, be-
cause he has to get the story for his
paper. Neither realizes the other is
innocent, but they fall in love anyway.
And if you think real hard you may be
able to guess the ending.
KING OF CHINATOWN-Paramcunt
LAST is east and west is west and oc-
casionally the two get married, which
is what Anna May Wong and Akim
Tamiroff want to do in this chilling mel-
lerdrammer. Akim takes a beating
throughout, being shot once and killed
off at last. He's king of the Chinatown
area and Anna is a doctor who is trying
to get money to help Chinese war refu-
gees. There's plenty of action, a lot of
mystery, and one or two scenes are good
enough to keep you on the edge of your
seat.
• LOVE AFFAIR-RKO-Radio
HEREWITH a delicately wrought love
story, with several distinctly fragrant
episodes, plenty of comedy and much
pathos. The important thing about thb
picture is that it presented a teniae
difficulty to both director and cast; and
both have come through magnificently.
Each movement, each sequence, is full
of little recognizable human details. It
begins on board ship; Charles Boyer,
playboy, is on his way to New York to
marry an heiress. Irene Dunne, ex-cafc
singer, is going home to marry her rich
boss, Lee Bowman. Boyer and Irene
meet, fall in love; and their emotion i3
crystallized in Madeira when they vicit
B o y e r ' s aged grandmother, Maria
Ouspenskaya. Charles believes he needs
six months of freedom to find out if he
can become a successful painter, and
Irene agrees to wait. The months go
by, Boyer's plans work out. But Irene
is crippled in an automobile accident an
hour before she is to meet him. The
doctors cannot be sure she will ever
walk again, and until she finds out she
refuses to get in touch with Charles,
who thinks she has jilted him. Both
Miss Dunne and Boyer give fine, clear
portrayals. Leo McCarey's direction is
unequalled. The portion of this film
devoted to the Madeira incident is com-
pletely stolen by Maria Ouspenskaya,
whose work is extraordinary.
+ THREE SMART GIRLS GROW UP-
Universal
A LITTLE more grown-up, with her
voice in perfect condition and possessed
of a new poise, Deanna Durbin pulls
this sequel to her first success right onto
the gravy train. The piece has great
charm, an innocuous but diverting story,
excellent production, of course, and well
spotted music. Nan Grey and Helen
Parrish are her sisters, in the same lo-
cale as the other picture boasted. Both
Nan and Helen are in love with the
same man, nice William Lundigan, but
he proposes to Nan; Deanna, determined
to fix everything up, drags in Robert
Cummings to console Helen. Instead,
it's Nan who likes him. The mess to
which all this adds up is properly
blamed on Deanna. Surprise of the pic-
ture is Cummings, cast in a role de-
manding a good deal of casual charm.
He does very well, indeed. Charles
Winninger has a splendid bit as the
father. Deanna sings some fine old
chestnuts beautifully.
THE BERNARR MACFADDEN FOUNDATION
conducts various non-profit enterprises: The Macfadden-Deauville Hotel at Miami Beach, Florida,
one of the most beautiful resorts on the Florida Beach, recreation of all kinds provided, although
a rigid system of Bernarr Macfadden methods of health building can be secured.
The Physical Culture Hotel, Dansville, New York, is open the year round, with accommodations
at attractive prices, for health building and recreation.
The Loomis Sanatorium at Liberty, New York, for the treatment of tuberculosis has been taken
over by the Foundation and Bernarr Macfadden's treatments, together with the latest and most
scientific medical procedures, can be secured here for the treatment in all stages of this dreaded
disease.
Castle Heights Military Academy at Lebanon, Tennessee, a man-building, fully accredited school
preparatory for college, placed on the honor roll by designation of the War Department's gov-
ernmental authorities, where character building is the most important part of education.
The Bernarr Macfadden Foundation School for boys and girls from four to eleven, at Briarcllff
Manor, New York. Complete information furnished upon reguest.
SANDEZE PIEASE
Idtima MMssidU ma /my jdime.
California designing genius brings you color-
ful fun and sun clothes ..so becoming, gjy and
carefree you II want to bve in them
all season. Say 'Sandeze Please"
..they're tiering words any time, in
any clime!
TRAVEL-LURE (lift)
Gorgeous California flower col.
ors in Sandeze crinkled sailcloth
shirt, shorts, skirt. About $6.00
CAREFREE (right)
Multicolored stripes, combined
with harmonizing Sandeze crin-
kled sailcloth. Reversible bra,
shorts and jacket. About $8 00
Look for this Ta
<*.%%
******
sn**
FEATURED BY BETTER STORES EVERYWHERE
"•'•»«*
Here's a HEALTH Cook Book
A Book Which Enables You to Derive the Maximum of Health from Food and the Mai. mum of Real Pleasure from Eating
UCRE is a new kind of cook book— a health cook book
book which gives you essential food and diet
information, in addition to hundreds upon hundreds of new
.1 a wide range or special menus. All the recipes
given in this modern cook book have been selected and
tested under the immediate supervision of the authors—
Bernarr Macfadden and Hilo Hastings— by a staff skilled
in modern scientific cookery-
THREE BOOKS IN ONE
This big, giant size cook book is really throe books in
one. It gives you all the real essential food and diet in-
formation which every family should have— in clear, under-
standable terms. It brines you a new guide to economy
and health. It revolutionizes all the old, unhealthful
. of cooking.
Here ts a cook book which proves that real, health-build-
ing foods can be taslv and delightful. Every dish recom*
men. I. J [n tins great book is not only scientifically sound,
but is also delicious as well. For a food to be really
beneficial must certainly please the palate.
BETTER MEALS AT LESS COST
Careful consideration has also been given to the money
cost of food and the tune cost oi its preparation. There
are hundreds upon hundreds of specific recipes, each of
which has been carefully worked out and tesu I
fill] Instructions for selecting, combining, cooking and
sen in',:.
MENUS TO SERVE YOUR EVERY PURPOSE
Perhaps the greatest feature of this book is the ideal ar-
i L of menus in v*ell-deli!ied group*. 1 "t InstancOi
e ten different types of physical culture menus-
ideal menus for families with growing children. Special
menus for the manual laborer— others for those in seden-
tary occur-
Cr If yours is a problem of losing weight- '
you Ideal rood combinations for this | irou want
to gain weight— you will delight In us effective i«od sug-
gestions lor this purpose, Ul SSPI - ■ Ui-joO
menus specifically designed to prevent constipation. In-
dead here Is *■■■>. your fo-*l and
diet problems— In a most
Remember— tins is a brand new. Up-tO-thO-nUnUtS fixxl and
cook book. And not an ordinary one by .try means. A
real Introduction to new, tasty cookery. 1
preparation of f<«*ts are not enough— every dish is indeed
deiiirhtfally inviting-a real
Here is a book you should possess.
SEND NO MONEY
This remarkable cook book, I ttful blue cloth.
embossed in gold and containing over -tou i
800 recipes, costs onfc I •* 1*1*1
now. aiarsly sign and mall coupon below and pay post-
man $2.00 1 ' Charge*. If ynu are not
With this book return H within 5 days and your S2.0O will
be refunded without question.
Macfadden Book Company. Inc.
Dept P6. 205 East 42nd St. New York, N. Y.
lUK.k. I V
postman 52. uo plus postage when i
Name .
Streot
state
■
Canadian and foreign ordera cash in advance
LOVtLY mflKC-Uf .a4^
The new POWD'f^-BASE stick
Holds powder and make-up on until removed.
No nose shine; non-greasy; waterproof.
Achieves a velvety, flattering complexion.
Rachelle, Brunette,
Flesh, Suntan, and
three Rouge shades.
50c and $1.
POWDrVBASE
Ixa/mpcue/ns
JUNE, 1939
89
A BEAUTY
FOR EYELASHES
r*
• l i-h.-. am llu "beaut] mm"
,.f \..nr <-m- — ileak .mil shining,
th,\ promise) nn h.inl innil. .mil .1
lure to t ■■i-i.iii" el \il"l 1 Den I'ril-
»n!i Ki 111 1 m ! 1 lii- rii li.
-. ieniific < ream helpt to keep
I 1 li. - -..fl .nnl nipple, 1 1 • prevent
brittleneta end adds luxuriance.
1 Vint .1 ii>ui li 1.1 your lidi leaves
1I1. in imwj end ilirteoing, in the
boi i ■-- - 1 .1 r fashion ' I
\111l. lir-t .11.I 1 .• i\i iling new
lath-appeal, earl your l.i-lu m pro-
\ ... Blively w iili the one and "nl>
Ki hi \- 1 1 ! Used togmthmr, Ki h-
1 *~ii and Ki hum make the per-
I, . 1 .- \ .--I ■>-.■ hi > team. < ->-i both in
the Den Laah Twin- Kit, $1.50.
FREE — your personal eye make-up
chartl Writ* to Jone Heath, Dept. A6.
qi»mq color of hair and eyes.
KURLASH
THE KURLASH COMPANY. INC.
Rochester. N. Y. Canada, Toronto, 3
The Only Complete Eye-Beauty Line
CcrrRICHT Itll. THE KURLASH CO.. INC.
V.UMIT
SILK STOCKINGS
/'
/'
r t/ fft r
You'll love the flattering
beauty and Fit of Valcort.
You'll marvel at its glori-
ous texture and smart
shades. Ycu'll delight in
its long wearing qualities
and be amazed at the rea-
sonable piice of these
costly looking stockings —
as low as 59c, and up to S1 .
VALCORT HOSIERY MILLS
♦04 FOURTH AVE. NEW YORK. N. Y.
Brief Reviews
(Continued from page 4)
FLYING IRISHMAN. THE— RKO Radio
I lung but .i
nil Imii
Aim
inn You will hardly
did intend to
tfoy)
FOUR GIRLS IN WHITE M-G-M
incMUBe— a rorsaaicr to the DM d
■ ■
h hwt-
Lhc Idealistic
Mary Howard and Ann
1 prtl)
GIRL DOWNSTAIRS, THE— M-G-M
Tin* ■etini this, people, ii
li s man I Pnmchot Ton
• ulli ry maid (Frandska I
itity Franclska work- for.
comes through wilt) dying col
•ii. (March)
GOING PLACES— Warners
the innocuous young hero
1 falls in love with
Vnlta Louise. Maalne SulUvaa gives oat with her
).izi chandler riiu-ic and ll a dish, from any stand-
Never mind the -lory, just so to hear her —
and LoUiS Al .rch)
it GREAT MAN VOTES. THE— RKO-Radio
A political satire on the prohibition and "
era. tin- hsi an original story, under-landing direc-
.1 the superb portrayal of John Barrymore
utactl even himself. Playing a widowed
■ n addicted to the bottle, he rehabilitates
hinwlf with the help of Virginia Weidler and little
Peter Holden (in "On Borrowed Time"). You
could ask little more of a picture. (March)
ir GUNGA DIN— RKO-Radio
I'ted from Kipling's barrack-room ballad
:ig the brave water carrier, this exciting
drama shows the British in India up to their old
tricks of policing the natives. Cary Grant (boy, is
he good), Doug Fairbanks, Jr., and Victor Mc-
I.aglcn are the swashbuckling heroes; Sam Jaffe,
the courageous Gunga Din. Two hours packed with
spectacular thrills. (April)
•k HONOLULU— M-G-M
The studio intended this extravagant musical to
be Eleanor Powell's picture, but somehow Gracie
Allen appropriated it. The plot revolves around a
star's (Bob Young) attempt to have a
tropical vacation incognito. Miss Allen's irrepress-
ible humor and Miss Powell's expert hoofing will
keep you amused. (April)
ir ICE FOLLIES OF 1939. THE— M-G-M
Metro steers into the ice field with this Gargan-
tuan frozen follies, using as background the ice
troupe that successfully followed Sonja Henie
around America. The plot has Joan Crawford
loving Junmie Stewart, marrying him, leaving him.
Coming back to him. Lew Ayres is good as the
bitter partner of Stewart. (May)
* IDIOT'S DELIGHT— M-G-M
An effective screen treatment of the Lunt-
Fontanne play. Clark Gable is a vaudeville ham;
Shearer, a phony Russian countess traveling
with Edward Arnold, a munitions maker. Add
1 characters, put them in an Alpine hotel
when the next war breaks out and you have drama
in fantastic proportions. Salutel Hollywood grows
up. (April)
I WAS A CONVICT— Republic
Really, the publicity that convicts have been get-
ting from Hollywood lately! This particular bit will
put you in a stupor. Barton MacLane, Beverly
Roberts, Clarence Kolband Horace MacMahon are
a ones In the cast and they're so bored with
what they have to do. (May)
tV JESSE JAMES— 20th Century-Fox
The story of the famous Ozark outlaw em-
bellished with all the romantic trappings (including
at Darryl Zanucks command.
Tyrone Power a- the bad man, Nancy Kelly a- his
la as his brother, Randy Scott.
Henry Hull and a host of others tear through the
i mbinalion of a cops and robbers bang-up
We ten you ever cheered through. (March)
■yV KENTUCKY— 20th Century-Fox
Ye old Southern feuding between two aristocratic
Drought to an end by a boy loves
iretta Young vs. Richard Greene) angle, but
the old plot you WlU revel in the magnificent
f the Blue Grass country, the
Kentucky Derby and the southern atmosphere in
general. An orgy for horse lovers. (March)
KING OF THE TURF— Small-United Artists
The long arm of coincidence is practically pulled
out of its s,«:kei in this race-track tale. Xdolphe
MenjoU, cast as a bum. is regenerated by a run-
away boy. The boy has a mother. Dolores Costello.
Menj v wife. Who? Dolores Costello.
We can't stand surprises. (AanH)
LADY AND THE MOB, THE— Columbia
Academy Winner Fay Bainter brings a light but
dignified touch to this semihumorous story of a rich
■ i ic who run- a mob of racketeers out of town
ng her own plug uglies and practically man-
ning their machine guns herself. Lee Bowxn
r'l son. and Ida Lupino furnish a light
| romance. {.May)
AT 5( AND IO( STORES
LEG SUFFERERS
ing to do something ? W rite today for
New Booklet— "THE LIEPE METHODS
FOR HOME USE." It tells about
Varicoee Veins. Ulcers and Open Leg Sores.
Llepe Methods used tchtU you trait. More
than 40 years of success. Praised and en-
dorsed by multitudes.
LIEPE METHODS. 32S4 N. Green Bay Ave.
Dapt. F-36. MilwaukM. Wisconsin
i ;■:■■ ■'!(
r
L Thrilling beyond
fa, words I Slip in weary
A, ..emerge wonderfully
ff refreshed — your skin
I utterly clean, silky*
\ smooth, fragrant No
|\ (ub ring. 35c. $1.00.
i To. Jo.OO. At lot-
J letrie counters every-
g. where. Coupon brings
■■ you a trial m/.c box.
i
N\ilkelQllh Gail
B 41 lab Inc.. 700 N. Carpenter St.. Dept. 16 F. Chicago
Please send me trial Usa-Foan Million Bubble Bath
in □Pine QLiUc □ Ja.niim- QC.rnation □Gnrdema
QEau IV Cologne. I endow 10c for each
.Va/m-
Addrejj
LADY VANISHES. THE— Gaumont-British
Alfred Hitchcock, the great English director, here
-'.ng story of spies, blood-
shed and. of course, loo-v-el All action takes place
on a transcontinenl . Dame
May Whitly, Mar. rood, Michael Red-
ndid. Will suit th<
ii-.
LAST WARNING. THE— Universal
Detectives Preston Poster and Frank Jenks
msnsgi te through a laby-
rinth ny, undeterred by
murder- and kidnapings. There's not much gore
and hardly a shock scene. (March)
*LET FREEDOM RING— M-G-M
vfaicn Nelson Eddy has a
tor McL.tnli-n. He al-o sinjes to
Virginia Bruce (not J. MacDonald). Am ttu
' who perraaoea the railroads to give back
stolen property, naturally Nelson trim over Victor:
be wn. ■■>. Vrni will like this blend of
action, drama and music. (April)
LET US LIVE— Columbia
n the daily papers some years
ago, tin- (a an Indictment of nine phases of our
tup, the implication being that justice wins
I u ■ 01 Providence and
nothing else, Henry Fonda li the innocent by-
identified by hysterica] witnesses as a
murderer and sent u> the death house. Maureen
() Sullivan li the nirl wlio seel him through all the
trouble. Very interesting. {.May)
* LITTLE PRINCESS, THE— 20th Century-
Fox
Shirley Temple's boss has said this was the best
picture he ever made. The charming story is that
Idter'e daughter in a -wank school, treated
well until new- comes of his death, when she is
relegated to the scullery. Shirley is perfect, the
throughout sui>erb and the
Richard Greene, Anita Louise. Ian Hunter. Mary
Nash. Sybil Jason, Arthur Treacher, Cesar Romero
and others, are in top form. (May)
LONE WOLF SPY HUNT, THE— Columbia
Spies are in vogue just now, so here i- Warren
William again (as the Lone Wolf) catching up on his
ige in Washington. Ralph Morgan is the
menace, Ida Lupino the sex appeal and Virginia
Weidler just tags along. Will not win friends or in-
fluence people. (April)
•k MADE FOR EACH OTHER— Selznick-
United Artists
This vital, modern love story will appeal to most
adults, but especially to "young marrieds" whose
and happiness are portrayed
with understanding and humor by Carole Lombard
and Jimmie Stewart. The cast, production and
direction are Hollywood's best. L-lpri')
ic MIDNIGHT— Paramount
Claudette Colbert trips along as cute as a new
bunny, playing an American chorine stranded in
1 ab driver Don Ameche sees her plight, tries
to help her, but doesn't succeed until she has let
herself in for undue publicity as the foil in a divorce
scandal between John Barryiuon-. Mary A-tor (his
1 Francis Lederer (Mary's lover). Gay and
good. (May)
ir MIKADO, THE— Toye-Universal
The first full-length production of a Gilbert and
Sullivan comic opera, this retains the sentimen-
tality and ironical humor of the original. Beau-
tifully sung by the D'Oyly Carte Opera Co.
(augmented nicely by Kenny Baker), this tale of
the son of the Mikado of Japan in
the Middle Ages should charm anybody over
Iprit)
MY WIFE'S RELATIVES— Republic
In this hilarious episode of the Higgins family,
. .1/,; iLucile Gleason) and Son
(Russell t into one homey little scrape
after another but succeed in preventing a designing
widow from marrying Grandpa (Harry Davenport).
iiisticated fun. (May)
NANCY DREW— DETECTIVE— Warners
nd nothing to hold your
ver. It has Bonita Granville playing sleuth
when a rich graduate of her school is kidnaped
she can endow a swimming pool. Short-wave
radio and carrier pigeons are cast in supporting
r61cs. (March)
NANCY DREW— REPORTER— Warners
Bonita Granville now gets Involved with a group
of journalism students who outwit an editor to
solve a murder ca-e. Krankic Thomas, Jr.. helps
her out. Very tough on the poor murderer. (April)
•k NEVER SAY DIE— Paramount
Screwy Bi ib Hi ipe is very funny in this gag story
n he i- told he only has a month to live be-
e has hyperacidity and is digesting himself I
a mistake but Bob doesn't think so. nor docs
Martha Rave, the I - who marries him
' ih: being sold to a prince. Nutty but nice.
(May)
OKLAHOMA KID —Warners
The redoubtable James Cagney dons boots and
saddles to play a sort of Robin Hood of the sage-
brush during the land lights on the Cherokee Strip
in 1893. Lots of Indians, stage coaches, assorted
low-life desperadoes, shooting, shouting, and SUS-
k -ein.iry Lane, Humphrey Bogart, Donald
Crisp and others make up the good cast.
ir ONE THIRD OF A NATION— Paramount
Using the President's line from his second in-
augural addre.-s. Dudley Murphy has made a
nn clearance that will make you want
to take an axe to the lir-t old house you see. Sylvia
tl and Sidney Lurnct are splen-
II the tenement house i- the -tar. We -uggest
tin- i- worth seeing if you are at all interested in
everyday news items. (April)
90
PHOTOPLAY
-k PARIS HONEYMOON— Paramount
Bing Crosby is a rich cowboy who has quite a
to-do making up his mind whether to marry a
Paris divorcee (Shirley Ross), or a little peasant
wench (Franciska Gaal). The Bing has developed
what might be called "Crosbian humor," dry.
happy and superbly modern, and Franciska Gaal
has plenty of sex with a smile. Elegant. (March)
PERSONS IN HIDING — Paramount
Taken from a book of crime cases by the same
name written by J. Edgar Hoover, this is impres-
sively realistic. It deals with the "get-rich-quick"
aspirations of a vicious young woman by means of
robberies, kidnapings and assorted peccadilloes.
Patricia Morison (a newcomer) does amazingly
well. (April)
PRIDE OF THE NAVY— Republic
If you have been wondering where James Dunn
was keeping himself, drop in at your neighborhood
theater. He's a speedboat demon kicked out of
Annapolis. The Navy says all is forgiven if he will
design a torpedo boat and Rochelle Hudson per-
suades him it is the thing to do. No great shakes.
(April)
SERGEANT MADDEN— M-G-M
It's pretty tough being a good policeman and a
good father, too, but Wallace Beery manages nicely.
His son Alan Curtis jams things up, first as a rotten
fighter, later as a disgruntled rookie cop. Hi- door-
Step daughter, Laraine Day, finally marries Curtis.
but not before a good deal of shooting and senti-
ment on the part of Beery. (May)
SMILING ALONG— 20th Century-Fox
Mother England's highest paid movie star
cavorting around as the leader of a vaudeville
troupe touring the Thames countryside. Grade
Fields has to be seen to be appreciated; both her
comedy and her singing are simply corking. She
has fun and so will you. (March)
SON OF FRANKENSTEIN— Universal
Success of the revival of horror pictures inspired
this up-to-date chiller. Boris Karloff (the original
Monster of 1931), Bela Lugosi (of "Dracula") and
Basil Rathbone work together with an awesome
effect of terror. Josephine Hutchinson has a small
bit. Prepare for nightmares. (April)
SPIRIT OF CULVER— Universal
Jackie Cooper plays the son of a dead war hero,
who is picked up from a bread line by the American
Legion, sent to Culver Military Academy where he
goes for the bread and butter but holds no brief for
the patriotic theme "there are some things worth
dying for." Roommate Freddie Bartholomew
brings the dissenter to his senses. (May)
if STAGECOACH— Wanger-United Artists
Well-written, well-acted and well-directed, this
delineates the adventures of nine people who meet
and face treachery traveling through Indian in-
fested territory in 1885. One of the best character-
izations of the year is that of Thomas Mitchell as the
drunken doctor, but Claire Trevor. John Wayne,
George Bancroft, Tim Holt and others are excep-
tional. Very fine. (April)
if STAND UP AND FIGHT— M-G-M
A well-knit fast-action story laid against the
ructious background of slavery and the rivalry
between the old stagecoaches and the new rail-
roads in Maryland. Robert Taylor is handsomely
cast as the proud young Southerner, Florence Rice
is sweet, Wallace Beery is tough, Helen Broderick
is humorous — the whole shebang is great stuff.
(March)
ST. LOUIS BLUES— Paramount
This Mississippi showboat story is a series of anti-
climaxes holding the plot together so the performers
can sing. Lloyd Nolan is the dashing captain,
Dorothy Lamour is a runaway actress who refuses
to wear sarongs (but she does). Four songs are
delightfully rendered by Maxine Sullivan, aided by
the Hall Johnson choir. (April)
SWING, SISTER, SWING— Universal
Bean porridge in the pot, quite, quite cold. Ken
Murray and Johnny Downs are the small-town
jitterbugs in the big city who find success, go back
to home sweet home to start a garage. Eddie
Quillan is in there pitching. (March)
*TAIL SPIN— 20th Century-Fox
Alice Faye. Connie Bennett. Nancy Kelly and
Joan Davis show you the perils and sacrifices of
competition in women's air derbies. There are as-
sorted love stories, but see this for the novelty and
speed thrills. (April)
* THEY MADE ME A CRIMINAL—
Warners
You may feel that the "Dead End" kids need a
bath and a spanking, but here they are again,
slit-eyed as ever, co-starring with Warner's new
find, John Garfield, in a suspenseful tale of a petty
crooked prize fighter. Ann Sheridan adds plenty
of uumph and Garfield lives up to his reputation
magnificently. (March)
TOM SAWYER. DETECTIVE— Paramount
You might recall that this is the story of Tom
and Huck Finn on Undt Silas' farm; there's a
murder and there are twins to make the mistaken
identity theme hold good. This was a swell yarn
when Mark Twain wrote it, but things aren't
as they used to be. (March)
TOPPER TAKES A TRIP— Hal Roach-United
Artists
This is a dishful of whip cream for them that
likes it. Roland Young again plays his bewildered
whimsical banker, Billie Burke again flutters
through as his dissatisfied wife, Alan Mowbray
is again the humorous butler and Connie Bennett
is again the ghostly heckling friend in need. The
process shots have novelty value. (March)
UNWANTED HAIR
WITH
THE
\rAP
ROVED
FO^UL*
Perfumed
OtfU.ltfOM
CRtW
:
l
crea^
With more women using
ZiP than any other hair
remover, I have been en-
couraged to create a new
and better product: a
toiletry that is far super-
ior to old-time depilator-
ies; a cream which can
be used without offense
to others in your house-
hold. My new ZiP Depil-
atory Cream instantly
removes every trace of
hair: keeps your skin
satin-smooth. Simply
spread it on and rinse off.
Available at Good Stores
SPECIALIST
562 Fifth Avenue, New York
I
Also ZIP Epilator
IT'S OFF because ITS OUT
Actually eliminates superfluous
hair with amazing success. Quick
and effective. Excellent for face.
Used for 25 years at my Salon.
Treatment or FREE
Demonstration at my Solon
WAKE U P
YOUR
LIVER
BILE
Without Calomel —
And You'll Jump
Out of Bed in the
Morning Rar in' to Go
The liver should pour out two pounds of liquid
bile into your bowels daily. If this bile is not flow-
ing freely, your food doesn't digest. It just decays
in the bowels. Gas bloats up your stomach. You
get constipated. Your whole system is poisoned
and you feel sour, sunk and the world looks punk.
A mere bowel movement doesn't get at the cause.
It takes those good, old Carter's Little Liver Pills
to get these two pounds of bile flowing freely and
make you feel "up and up." Harmless, gentle,
yet amazing in making bile flow freely. Ask for
Carter's Little Liver Pills by name. 25c at all
drug stores. Stubbornly refuse anything else.
TWELVE CROWDED HOURS— RKO-Radio
The Richard Dix of the great "Cimarron
here as a news reporter who helps a pal when
murder will out The -tory is well-knit, but you
may be sick of the newspaper-versua-racket
Lucille Ball is Dix's sweetie and Allan Lane also
runs. (May)
if WIFE, HUSBAND AND FRIEND— 20lh
Century-Fox
Warner Baxter needed a good picture and he has
it in this blend of comedy, burlesque and music, the
plot based around a contractor whole wife (Loretta
Young) has a yen to be a singer. Binnie BaJ
thi tax who finally brings matin
dramatic climax. (May)
SWINGS OF THE NAVY— Warners
Here's another American documentary film which
the Warners do so well. This has the additional
>f a good love triangle (John Payne, I
Brent and Olivia de Havilland) merged with the
fascinating pictorial details of the naval air service.
The crash and stunt sequences are fine and dandy.
(March)
WINNER TAKE ALL— 20th Century-Fox
Tony Martin is a singer — not yet too good an
actor, but he's fine in this as the fighter whose name
has been built up in fixed fights. He carries the
fortunes of Henry Armetta in his gloves, as Armelta
is treasurer of the "Sons of Garibaldi'' and bets
everything on Tony. Gloria Stuart adds a dash of
sex. (May)
WOMAN DOCTOR— Republic
Henry Wilcoxon, Frieda Inescort and Claire
Dodd worry through the tangles of love wherein
Miss Inescort can't make up her mind whet:
duty lies with her husband and child (Sybil Jason)
or with other mothers' crippled offspring. Will 5uit
the customers. (April)
if YES, MY DARLING DAUGHTER—
Warners
Transferred from the stage, this is meant to be a
satire on the freedom and unconventional attitudes
of young females of today. Priscilla Lane 18 tin-
daughter who reacts too completely to her liberal
mother's advice (Fay Bainter). Jeffrey Lynn is the
bewildered young swain who thinks "woman's
place is in the home." Very amusing. {April)
YOU CAN'T CHEAT AN HONEST MAN—
Universal
The new W. C. Fields-Edgar Bergen-Charlie
McCarthy feature is pretty funny. There seems to
be no end to the gags this trio can evolve from the
circumstance of Fields playing the role of boss of a
smalltime circus. Constance Moore, Princess Baba.
Arthur Hohl. Mary FoTbes and an elephant named
Annie are in the cast. (May)
YOU CAN'T GET AWAY WITH MURDER
— Warners
Once again Humphrey Bogart is the icy-eyed
killer; Billy Halop, his little stooge. Like all literary
slum kids. Billy has a pure sister. Gale Page, in love
with Harvey Stephens, falsely accused of murder.
What will Warners do when they run out of U. S.
prisons? (April)
if ZAZA — Paramount
Gloria Swanson originally emoted in this meller-
drammer of the woes of a French musical star who
falls in love with a man who she discovers is
already a husband and a father. This has been
heavily censored, but the charm of Claudette
Colbert and the splendid cast, headed by Herbert
Marshall, Bert Lahr and others, make it important.
(March)
AIERCOLIZEDF^CREAM
/7KEEPS YOUR SKIN
Mercolized Wax Cream flakes off the surface skin
in tiny, invisible particles. Reveals the clear, soft,
smooth, young looking underskin. This simple, all-
in-one cleansing, softening and beautifying cream
has been a favorite for over a quarter century with
lovely women the world over. Bring out the hidden
beauty of your skin with Mercolized Wax Cream.
Try Phelactine Depilatory
For quickly removing superfluous hair from face.
Sold at cosmetic counters everywhere.
HOW WELL DO YOU
KNOW YOUR HOLLYWOOD?
Check your answers to the statements
on page 87 with these correct ones:
1. Mr. and Mrs. John Barrymore
2. Mark Hellinger
3. Ann Sheridan
4. Lola Lane
5. Fay Bainter
6. Kay Francis
7. Frank Morgan
8. Claudette Colbert, Irene Dunne,
Evelyn Knapp
9. "Confessions of a Nazi Spy"
10. Katharine Hepburn
I I. Ellen Drew
12. Richard Dix, Bing Crosby
13. Elsa Maxwell
14. Loretta Young
I 5. Warner Baxter
16. Marion Davies, Jeanette Mac-
Donald, Joan Crawford
17. Leo Gorcey
18. Robert Cummings
19. Neil Hamilton, Fredric March
20. Will Hays
(/ THE
SAN FRANCISCO
WORLD'S FAIR
DON'T MISS THE THRILL OF
22-ACRE PLAYGROUND
THE
r
o&sCtvifeJhf
\
ONE OF THE WORLD'S MOST
UNIQUE AND DELIGHTFUL HOTELS
it
VISIT CfJ&mai&u*
HOLLYWOOD
. . . and a hundred
other unforgettable
attractions.
(_^-crz<isu2, by
RAIL, PLANE
or MOTOR
Holders of round-
trip rail tickets for
the two World's
Fairs can include
Los Angeles at no
extra cost.
•
A Crystal Pool, Sun-
tan Beach and Ca-
banas, Golf, Tennis,
Badminton. A Min-
iature City of smart
and fascinating
Shops and a motion
picture Theatre.
Please wire or write for reservations.
3400 Wilshire Blvd.
LOS ANGELES
JUNE, I 939
91
Can, you Aaif UuA about
YOUR Si^biou>Tmcil?
STRONGER
MORE ABSORBENT
AT 5 AND 10c AND BETTER
DEPARTMENT STORES
New Under-arm
Cream Deodorant
safely
Stops Perspiration
1. Docs not harm dresses — does
not irritate skin.
2. No waiting to dry. Can be used
right after shaving.
3. Instantly checks perspiration
1 to 3 days. Removes odor
from perspiration.
4. A pure white, greaselcss, stain-
less vanishing cream.
5. Arrid has been awarded the
Approval Seal of the American
Institute of Laundering, for
being harmless to fabrics.
15 MILLION jars of Arrid
have been sold. Try a jar todayl
ARRID
39Y ■ j«
AT All STOBES WHICH it It TOILET GOODS
(Alio la 10 cam and 59 cenl ion;
Casts of Current
Pictures
I. in Hunlt-r;
licit,:
I'., ul Hurt;
"DODGE CITY" Warner*. Original
■ '.. n Buckni r Dire< i. ,| i.\
H.tvill.md; Ruby (iilman, Ann
I
Prank McHugh; Rusty Hart, Alan Hale; tit
Dr. Irwing, Hem*]
■
. William 1. 1. Baird, Guinn "Big
m-; Hurry ( alt, Hohs \'.
I ' uglai Fowl
.'. id Bond; Mrs.
:■
BlUC
1ST SIDE OF HEAVEN"— Universal.—
Original screen story by David Butler and Herbert
Polcsie. S by William Conselman.
: Butler. The Cast: Donny
Martin. Bint Crosby; Mary Wilson, Joan Blondell;
Misch.i Auer; Mona Barrett, Irene Hervey;
Claudius DeWolf, Jerome Cowan; Cyrus Barrett. Jr.,
Robert Kent; Cyrus Barrett. Sr., C. Aubrey Smith;
Baby Barrett, Sandy Hcnvillc.
'HOUND OF THE BASKERVILLES. THE"
— 20th Clmi rv-Fox. — Adapted from the bonk by
Sir Arthur Conan Doyle. Screen play by Ernest
Directed by Sidney Lanficld. The Cast:
>tr Henry BaskerviUe, Richard Greene; Sherlock
Holmes, Basil Rathbone; Beryl Stapleton, Wendy
Barrie; Dr. Watson, Nigel Bruce; James Mortimer,
M l>.. Lionel Atwill; Barryman, John Carradine;
Frankland, Barlowe Borland; Mrs. Jenifer Morti-
mer, Beryl Mercer; John Stapleton. Morton Lowly;
.Sir Hugo BaskerviUe, Ralph Forbes; Cabby. E. E.
Clive; Mrs. Barryman, Buy Maiyon; (
Harry Cording; Mrs. Hudson, Miry Gordon;
Roderick, Peter Willes; Shepherd, Ivan Simpson;
Bruce, John Burton; Jon, Dennis Green; Edwin,
Evan Thomas.
■I'M FROM MISSOURI"— Paramount.—
Screen play by John C. Motrin and Duke Atte-
berry. Based on stories by Ho.ner Croy and Julian
Street. Directed by Theodore Reed. The Cast:
Sweeney Bliss, Bob Burns; Julie Bliss, Gladys
George; Lola Pike, Judith Barrett; Joel Street,
William Henry; Duke of Warrington (Mr. Arthur),
E. E. Clive; Duchess of Warrington (Mrs. Arthur),
Doris Lloyd; Captain Brooks-Bowen, Barry Mac-
kay; Mrs. Allison Hamilton Crispin, Patricia
n; Colonel Hastings, Lawrence Grossmith;
Hearne. Melville Cooper; Hearnc's Wife, Dennie
Moore; General Slarhuck, Tom Dugan; Charley
Shook, Spencer Charters; Wall Bliss, James Burke.
"KID FROM TEXAS. THE"— M-G-M —
Screen play by Florence Ryerson, Edna* Allan
Wool! .md Albert Mannheimer. Directw by S
Sylvan Simon. Original storj by Milton Merlin and
Byron Morgan. The Cast: William Quincy Malone,
Dennis O'Keefe; Margo Thomas, Florence Rice;
Bertie Thomas, Anthony Allan; Aunt Minetta,
Ralph: "Snifty," Buddy Ebsen; "Okay"
K'nney, Yirejnia Dale; "Duke" Hastings, Boberi
Wilcox; ■ k Canon: Mane, Helen
I.ynd; larr, J. M. Kerrigan; Adam Lambert, Tully
Mar-hall.
"KING OF CHINATOWN"— Paramouw.—
Screen play by Lillie Hayward and Irving Reis.
on a story by Herbert Biberman. Director.
Nick Grinde. The Cast: Dr. M.iry Linn. Anna
Wong; Frank Balurin, Akim Tamiroff; The
I ' roll Naish; Pip Han
ion, Anthony Quinn;
Warren, Bernadene Hayes; Robert Lt. Philip Aim;
Dr. (hang Ling, William Law; Potatoes, 1< v
S im Ash; Dr.
Jones, Charles Trowbridge; Interne,
Twitchcll; Detective, George Anderson.
"LADY'S PROM KENTUCKY, Tin
Paramount.— Screen play by Malcolm Stuart
Boylan. I* I ry by Rowland Brown.
nder Hall. The Cast: Many
,"«• "Penny" Hollis, Ellen
• . Dutcey Lee,
"LOVE AFFAIR"— RKO-Radio.— Story by
Mildred Cram and I Screen pi
nd Donald Ogden SI
Duma. Michel, Ch Grandmother,
. Kenneth Bradley, Lee Bowmai
Clarke, Astrid Allwyn; Mauri. r Coberl, Maurice
Moacovich.
PURELY VEGETABLE
LAXATIVE
ADVISED
BY NOTED
OHIO DOCTOR
If you arc troubled by constipation and its
often result inn bad breath, headaches, mental
dullness, lock of pep, dull eyes and aggravated
pimply skin— DON'T take harsh cathartics—
you can enjoy the gentle yet
Bectivc kctii in of I >r. Edwards! Olive Tab-
his 1 1. essfully for over 20 years by
Dr. K. .\I. K<1 wards in his own private pra
Olive Tablets, being purely vegetable, are
harmless. An<l WHAT'S IMPORTANT: they
ALSO stimulate liver bile flow to help digest
fatty foods. Test their goodness TONIGHT]
!"•'. oOrand 60*. All drugstores.
Dr. Edwards' OLIVE TABLETS
Send Your Boy to Bernarr Mncfadden's
Man-Building School ni Lebanoi
• Accepted bj all educational institutions
.is a high-class preparatory school and jun-
ior college, • Ages accepted from nine
• Prepare your hoy tor the b
professional nr business life by making him
a square-shouldered, double-fisted fighting
man, • Write mr information to Castle
Heights Military Academy, Lebanon, Tenn.
Tw7
this
Free
for
wonderful
ironings
Here's that new way to do hot
starching without mixing, boil-
ing or straining as with old
fashioned lump starch. Every-
thing already included in pow-
dered form. Makes starching
easy. Makes ironing easy. See
howelasticityandthatfreshnew
look are given back to curtains.
aprons, play clothes, soft collars
and shirts. Your iron fairly glides
A wonderful invention. Sendnow.
THANK YOU
THE HUBINGER CO., No. 71S. Keokuk, la-
Your free sample of QUICK ELASTIC, please.
"That Wonderful Way to Hot Starch."
MITLA..
AN EXOTIC MEXICAN SANDAL
(OFHANDWOVEN SUEDE
COLORS: JAPONIC* (Burgundy)
CHEDRON (A smart new rust tan)
Expect a sophisticated thing finished
like the finest footwear in lovely
suede, but keeping all the distinction
and style of a bench made shoe
TO ORDER. Send outline ol your
loot or ahoe aize. Lace*, tiea and
. open toea make fitting easy
Ifte
QLD (fcyflEXOCO $HOP
SANTA FE-NEW nAEXICO
I IFTY I \WYER" — M-G-M. — Screen
dnch, Albert Hackett, Leon
Hugo Butler. B.i-ed on the Arthur
ted by
I Marin. <urant,
Bruce; Tony
'!< ; Jim Crelliman, Eduardo
' plli; Phil Sid man; sio Li
I .yton.
■■ Mundin; / I rank M. Tl
• phy; Alf. Tom Kennedy; Mr.
IColbj Henry I . .1 .
nidi, Ian Wolfe; Murtock, Paul Guil-
• pll (.Khan.
"STORY OF ALEXANDER GRAHAM BELL,
III! ruRY-Fox.— Screen play by
. by Raj II. err:-.
Irving Cummings, The Cast; Alex-
II, Don Ameche; \h
•;, Henry Fonda;
1 ..arles Cobun '..i« r .
it; Mrs. Hubbard, Spring Byington;
Sally Blane; Grace Hubbard,
Polly Ann Young; Berta H u rgiana
Young; Watson; />•
Kuss!: ,,, pau| Stanton;
■:.' Western Union, Jonathan Hale; Queen
Victoria, Beryl Mercer; Judge, Harry Davenport;
Mr-. MacGregor, Elizabeth Patterson; George
l'ollar . i rowbridge; Mr*. Winlhrop, Jan
Dtlggan; Landlady. I I ire Du Ht.-> ; Jot Uiot,
1 yler; D Any. Ralph Reniley; Mrs. Sanders,
<ury.
"STORY OF VERNON AND IRENE
( ASTLE, THE "-KKO- Radio.— Based on the
ry of Irene and \'ernon Castle, internation-
ally famous dancers. Directed by H. C. Potter.
The Cast: I ernon Castle, Fred Astaire; Irene Foote
i. inner Rogers; Lew Fields, Himself; Waller,
Waller Brennan; Ma gate Sutton. Edna May Oliver;
Foots, Janet Beecher: Dr. Foote, Rol>ert
Strange; I'apa Aubd, Monty Woolley; Claire Forde,
Frances Mercer; Hotel Manager, Donald MacBride;
Plump Young. Sonny Lamont; R. R. Conductor,
Dick Elliott; Bell Hop, James Adamson.
SI DDEN" MONEY " — Paramount— Screen
play by Lewis Foster. Based on a play by Milton
Lazurus. Directed by Nick Grinde. The Cast:
. Patterson, Charles Ruggles; FJsie Pa:.
rie Rambeau; Grandpa Casey Patterson,
% Grapewin; "Doc" Finney, Broderick Craw-
ford; Junior Patterson, Billy L<-e; Mary Patterson,
Evelyn Keyes; liddie Dunn, Philip Warren; Yolo,
Mathews; Johnny Jordan, Richard Denning;
Ellen, -Mary Parker; Mr. Hinds, Richard Tucker;
McPherson, James Burke; Mr. Wixby, Charles
Halton; Miss Perkins, Ethel Wales; Professor Tilo,
Alex Meleeh; Phil, John Gallaudet; Butch, John
Kelly; llerbie. Homer Dickinson; Joe, Joe Yule;
. Billy Engle; Mr. Jordan, Douglas Wood;
Diamond, Eddie Marr; Duke, Mack Gray; Ted,
Donald Kerr; Sam, William B. Davidson; Gamblers
Stanley Price, Dick Elliott, Robert Blister.
"THEY MADE HER A SPY "-RKO- Radio.
— Screen play by Machael Kanin and Jo Pagano.
Story by George Brickcr. Directed by Jack Hively.
The Cast: Irene, Sally Eilers; Huntley, Allan Lane;
Dr. Krull, Fritz Leiber; Major Show. Frank M.
Thomas; Col. Page, Theodor Von Eltz; Brock,
Addison Richards; Ben, Larry Blake; Col. Wilson,
Pierre Watkin; Gillian, Louis Jean Heydt; Lucius,
Spencer Charters; Ella, Leona Roberts; Beldon,
Charles Halton; Canby, Alec Craig.
"THREE SMART GIRLS GROW UP"—
UNIVERSAL. — Screen play by Bruce Manning and
Hans Rameau. Directed by Henry Koster. The
Deanna Durbin; Joan, Nan Grey;
Kay, Helen Parrishj Judson Craig, Charles VVinnin-
Ker; Mrs. Craig. Nella Walker; Richard, William
Lundigan; Harry, Robert Cummings; Binns,
Ernest CossarL.
•WITHIN THE LAW "—M-G-M.— Based on a
play by Bayard VeiUer. Screen play by Charles
Lederer and Edith Fitzgerald. Directed by Gu-t.iv
!y. The Cast: Mary Turner, Ruth Hu-sev;
Richard Gilder, Tom Neal; Joe Garson, Paul Kelly;
Cassidy, William Gargan; "English Eddie," Paul
Cavanagh; Agnes, Rita Johnson: Mr. Gilder.
Samuel S. Hinds; June, Lynne Carver; George
Demarest, Sidney Blackmer; Heiefi Morris, Jo Ann
.oman, Ann Morriss; "Fed." J
Burke; Inspector Burke, Donald Douglas; McGuire,
rk; Art Dealer, Claude King.
"WITHERING HEIGHTS"— Sam Goldwvn-
D Akiists. — Screen play by Ben Hecht and
Charles MacArthur. From the novel of the same
Dame by Emily Bronte. Directed by William
Wyler. The Cast: Cathy, Merle Oberon; Healhcliff,
Laurence Olivier; Edgar, David Niven; Fllen Dean,
Mora Robson; Dr. Kenneth, Donald Crisp; Hindley,
Hugh Williams; Isabella, Geraldine Fitzgerald;
Joseph, Leo G. Carroll; Judge Linton, Cecil Hum-
; Lockwood, Miles Mander; Robert, Romaine
Callenaer; Earnshaw, Cecil Kellaway; Heathcli
a child). Rex Downing; Cathy (as a child), Sarita
Hindley (a.\ a child). Douglas Scott.
"ZENOBIA" — Hal Roach-United Artists. —
Screen play by Corey Ford. Story by Walter
DeLeon and Arnold Belgard, from "Zenobia's In-
fidelity" by H. C. Bunner. Directed by Gordon
i: Dr. Tibbill, Oliver Hardy;
i radde, Harry Langdon; Mrs. Tibbill,
Billie Burke; Mrs. Carter. Alice Brady; Jeff Carter,
James Ellison; Mary Tibbitt, Jean Parker; Virginia,
June Lang; Attorney Culpepper, Olin Howland;
1. Farrell MacDonald; Zrro, Stcpin Fetchil;
Dehlia, Hattie McDaniels; Zeke, Phillip Hurlic;
Mr. Dover, Hobart Cavanaugh; Sheriff, Clem
Bevans; Farmer, Chester Conklin; Butcher, Tommy
Mack; Court Clerk. Robert Dudley; The Hall John-
son Choir, Themselves.
v. i «»a raiNT.MG CO.
92
PHOTOPLAY
See lovely
PATRICIA .
MURRAY £>
m Person
and on
the s"een
THE ADM'sSION Is p DPI-
7Ae P'ace /o m
^d lounge. /„ Y°Ur hie"ds _ » „
-ioyfflen!t° /e°: ?*« «* iSL*-
r-/-M beau(iiuj M„ . lc'0r7our
C°MMUNiCAnoAreMacfadd- **«*
PHorop/Ay
^ftu:
01 «ollYwood Stat,
JEI> PROUTY
CLEM SEVANS "EM 1E°POtD
^^YLYNN SHORES
J lie Chesterfield glove, created by New York's
smart designer Merry Hull...
Original and different too is Chesterfield's
way of combining the world's best tobaccos to bring
out the finer qualities of each. It's the Chesterfield way
and that's why Chesterfields are milder than other
cigarettes. They also have a better taste and more
pleasing aroma. Chesterfields really satisfy.
i
HAND-AND-GLOVE WITH
MORE SMOKING PLEASURE
'
^ m
■
I
■
nii
HV^
■
*
H j tl^i
m
■
■■T^
1
in
■■
. ■
■
■
!l ■
■■■■
■
m
H
m
H ■■ I
IB
■
KM m
■Oil •Tt '.tt4<"
Live Music
Archive
Librivox
Free Audio
Metropolitan Museum
Cleveland
Museum of Art
Internet
Arcade
Console Living Room
Open Library
American
Libraries
TV News
Understanding
9/11